Fleurs du Mal Magazine
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Mark Twain
(1835-1910)
An Entertaining Article
I take the following paragraph from an article in the Boston Advertiser:
“Perhaps the most successful flights of the humor of Mark Twain have been descriptions of the persons who did not appreciate his humor at all. We have become familiar with the Californians who were thrilled with terror by his burlesque of a newspaper reporter’s way of telling a story, and we have heard of the Pennsylvania clergyman who sadly returned his Innocents Abroad to the book-agent with the remark that ‘the man who could shed tears over the tomb of Adam must be an idiot.’ But Mark Twain may now add a much more glorious instance to his string of trophies. The Saturday Review, in its number of October 8th, reviews his book of travels, which has been republished in England, and reviews it seriously. We can imagine the delight of the humorist in reading this tribute to his power; and indeed it is so amusing in itself that he can hardly do better than reproduce the article in full in his next monthly Memoranda.”
(Publishing the above paragraph thus, gives me a sort of authority for reproducing the Saturday Review’s article in full in these pages. I dearly wanted to do it, for I cannot write anything half so delicious myself. If I had a cast-iron dog that could read this English criticism and preserve his austerity, I would drive him off the door-step.)
(From the London “Saturday Review.”)
“Reviews of New Books”
“The Innocents Abroad. A Book of Travels. By Mark Twain. London: Hotten, publisher. 1870. “Lord Macaulay died too soon. We never felt this so deeply as when we finished the last chapter of the above- named extravagant work. Macaulay died too soon—for none but he could mete out complete and comprehensive justice to the insolence, the impertinence, the presumption, the mendacity, and, above all, the majestic ignorance of this author.
“To say that the Innocents Abroad is a curious book, would be to use the faintest language—would be to speak of the Matterhorn as a neat elevation or of Niagara as being ‘nice’ or ‘pretty.’ ‘Curious’ is too tame a word wherewith to describe the imposing insanity of this work. There is no word that is large enough or long enough. Let us, therefore, photograph a passing glimpse of book and author, and trust the rest to the reader. Let the cultivated English student of human nature picture to himself this Mark Twain as a person capable of doing the following-described things—and not only doing them, but with incredible innocence printing them calmly and tranquilly in a book. For instance:
“He states that he entered a hair-dresser’s in Paris to get shaved, and the first ‘rake’ the barber gave with his razor it loosened his ‘hide’ and lifted him out of the chair.
“This is unquestionably exaggerated. In Florence he was so annoyed by beggars that he pretends to have seized and eaten one in a frantic spirit of revenge. There is, of course, no truth in this. He gives at full length a theatrical programme seventeen or eighteen hundred years old, which he professes to have found in the ruins of the Coliseum, among the dirt and mould and rubbish. It is a sufficient comment upon this statement to remark that even a cast-iron programme would not have lasted so long under such circumstances. In Greece he plainly betrays both fright and flight upon one occasion, but with frozen efforntery puts the latter in this falsely tame form: ‘We sidled towards the Piræus.’ ‘Sidled,’ indeed! He does not hesitate to intimate that at Ephesus, when his mule strayed from the proper course, he got down, took him under his arm, carried him to the road again, pointed him right, remounted, and went to sleep contentedly till it was time to restore the beast to the path once more. He states that a growing youth among his ship’s passengers was in the constant habit of appeasing his hunger with soap and oakum between meals. In Palestine he tells of ants that came eleven miles to spend the summer in the desert and brought their provisions with them; yet he shows by his description of the country that the feat was an impossibility. He mentions, as if it were the most commonplace of matters, that he cut a Moslem in two in broad daylight in Jerusalem, with Godfrey de Bouillon’s sword, and would have shed more blood if he had had a graveyard of his own. These statements are unworthy a moment’s attention. Mr. Twain or any other foreigner who did such a thing in Jerusalem would be mobbed, and would infallibly lose his life. But why go on? Why repeat more of his audacious and exasperating falsehoods? Let us close fittingly with this one: he affirms that ‘in the mosque of St. Sophia at Constantinople I got my feet so stuck up with a complication of gums, slime, and general impurity, that I wore out more than two thousand pair of bootjacks getting my boots off that night, and even then some Christian hide peeled off with them.’ It is monstrous. Such statements are simply lies—there is no other name for them. Will the reader longer marvel at the brutal ignorance that pervades the American nation when we tell him that we are informed upon perfectly good authority that this extravagant compilation of falsehoods, this exhaustless mine of stupendous lies, this Innocents Abroad, has actually been adopted by the schools and colleges of several of the States as a text-book!
“But if his falsehoods are distressing, his innocence and his ignorance are enough to make one burn the book and despise the author. In one place he was so appalled at the sudden spectacle of a murdered man, unveiled by the moonlight, that he jumped out of the window, going through sash and all, and then remarks with the most childlike simplicity that he ‘was not scared, but was considerably agitated.’ It puts us out of patience to note that the simpleton is densely unconscious that Lucrezia Borgia ever existed off the stage. He is vulgarly ignorant of all foreign languages, but is frank enough to criticise the Italians’ use of their own tongue. He says they spell the name of their great painter ‘Vinci, but pronounce it Vinchy’—and then adds with a naïveté possible only to helpless ignorance, ‘foreigners always spell better than they pronounce.’ In another place he commits the bald absurdity of putting the phrase ‘tare an ouns’ into an Italian’s mouth. In Rome he unhesitatingly believes the legend that St. Philip Neri’s heart was so inflamed with divine love that it burst his ribs—believes it wholly because an author with a learned list of university degrees strung after his name endorses it—‘otherwise,’ says this gentle idiot, ‘I should have felt a curiosity to know what Philip had for dinner.’ Our author makes a long, fatiguing journey to the Grotto del Cane on purpose to test its poisoning powers on a dog—got elaborately ready for the experiment, and then discovered that he had no dog. A wiser person would have kept such a thing discreetly to himself, but with this harmless creature everything comes out. He hurts his foot in a rut two thousand years old in exhumed Pompeii, and presently, when staring at one of the cinder-like corpses unearthed in the next square, conceives the idea that may be it is the remains of the ancient Street Commissioner, and straightway his horror softens down to a sort of chirpy contentment with the condition of things. In Damascus he visits the well of Ananias, three thousand years old, and is as surprised and delighted as a child to find that the water is ‘as pure and fresh as if the well had been dug yesterday.’ In the Holy Land he gags desperately at the hard Arabic and Hebrew Biblical names, and finally concludes to call them Baldwinsville, Williamsburgh, and so on, ‘for convenience of spelling.’
“We have thus spoken freely of this man’s stupefying simplicity and innocence, but we cannot deal similarly with his colossal ignorance. We do not know where to begin. And if we knew where to begin, we certainly would not know where to leave off. We will give one specimen, and one only. He did not know, until he got to Rome, that Michael Angelo was dead! And then, instead of crawling away and hiding his shameful ignorance somewhere, he proceeds to express a pious, grateful sort of satisfaction that he is gone and out of his troubles!
“No, the reader may seek out the author’s exhibition of his uncultivation for himself. The book is absolutely dangerous, considering the magnitude and variety of its misstatements, and the convincing confidence with which they are made. And yet it is a text-book in the schools of America.
The poor blunderer mouses among the sublime creations of the Old Masters, trying to acquire the elegant proficiency in art-knowledge, which he has a groping sort of comprehension is a proper thing for the travelled man to be able to display. But what is the manner of his study? And what is the progress he achieves? To what extent does he familiarize himself with the great pictures of Italy, and what degree of appreciation does he arrive at? Read:
“‘When we see a monk going about with a lion and looking up into heaven, we know that that is St. Mark. When we see a monk with a book and a pen, looking tranquilly up to heaven, trying to think of a word, we know that that is St. Matthew. When we see a monk sitting on a rock, looking tranquilly up to heaven, with a human skull beside him, and without other baggage, we know that that is St. Jerome. Because we know that he always went flying light in the matter of baggage. When we see other monks looking tranquilly up to heaven, but having no trade-mark, we always ask who those parties are. We do this because we humbly wish to learn.’
“He then enumerates the thousands and thousands of copies of these several pictures which he has seen, and adds with accustomed simplicity that he feels encouraged to believe that when he has seen ‘Some More’ of each, and had a larger experience, he will eventually ‘begin to take an absorbing interest in them’—the vulgar boor.
“That we have shown this to be a remarkable book, we think no one will deny. That it is a pernicious book to place in the hands of the confiding and uninformed, we think we have also shown. That the book is a deliberate and wicked creation of a diseased mind, is apparent upon every page. Having placed our judgement thus upon record, let us close with what charity we can, by remarking that even in this volume there is some good to be found; for whenever the author talks of his own country and lets Europe alone, he never fails to make himself interesting, and not only interesting, but instructive. No one can read without benefit his occasional chapters and paragraphs, about life in the gold and silver mines of California and Nevada; about the Indians of the plains and deserts of the West, and their cannibalism; about the raising of vegetables in kegs of gunpowder by the aid of two or three teaspoonfuls of guano; about the moving of small farms from place to place at night in wheelbarrows to avoid taxes; and about a sort of cows and mules in the Humboldt mines, that climb down chimneys and disturb the people at night. These matters are not only new, but are well worth knowing. It is a pity the author did not put in more of the same kind. His book is well written and is exceedingly entertaining, and so it just barely escaped being quite valuable also.”
(One month later)
Latterly I have received several letters, and see a number of newspaper paragraphs, all upon a certain subject, and all of about the same tenor. I here give honest specimens. One is from a New York paper, one is from a letter from an old friend, and one is from a letter from a New York publisher who is a stranger to me. I humbly endeavor to make these bits tooth-some with the remark that the article they are praising (which appeared in the December Galaxy, and pretended to be a criticism from the London Saturday Review on my Innocents Abroad) was written by myself, every line of it:
“The Herald says the richest thing out is the ‘serious critique’ in the London Saturday Review, on Mark Twain’s Innocents Abroad. We thought before we read it that it must be ‘serious,’ as everybody said so, and were even ready to shed a few tears; but since perusing it, we are bound to confess that next to Mark Twain’s ‘Jumping Frog’ it’s the finest bit of humor and sarcasm that we’ve come across in many a day.”
(I do not get a compliment like that every day.)
“I used to think that your writings were pretty good, but after reading the criticism in The Galaxy from the London Review, have discovered what an ass I must have been. If suggestions are in order, mine is, that you put that article in your next edition of the Innocents, as an extra chapter, if you are not afraid to put your own humor in competition with it. It is as rich a thing as I ever read.”
(Which is strong commendation from a book publisher.)
“The London Reviewer, my friend, is not the stupid, ‘serious’ creature he pretends to be, I think; but, on the contrary, has a keen appreciation and enjoyment of your book. As I read his article in The Galaxy, I could imagine him giving vent to many a hearty laugh. But he is writing for Catholics and Established Church people, and high-toned, antiquated, conservative gentility, whom it is a delight to him to help you shock, while he pretends to shake his head with owlish density. He is a magnificent humorist himself.” (Now that is graceful and handsome. I take off my hat to my life-long friend and comrade, and with my feet together and my fingers spread over my heart, I say, in the language of Alabama, “You do me proud.”)
I stand guilty of the authorship of the article, but I did not mean any harm. I saw by an item in the Boston Advertiser that a solemn, serious critique on the English edition of my book had appeared in the London Saturday Review, and the idea of such a literary breakfast by a stolid, ponderous British ogre of the quill was too much for a naturally weak virtue, and I went home and burlesqued it—revelled in it, I may say. I never saw a copy of the real Saturday Review criticism until after my burlesque was written and mailed to the printer. But when I did get hold of a copy, I found it to be vulgar, awkwardly written, ill- natured, and entirely serious and in earnest. The gentleman who wrote the newspaper paragraph above quoted had not been misled as to its character.
If any man doubts my word now, I will kill him. No, I will not kill him; I will win his money. I will bet him twenty to one, and let any New York publisher hold the stakes, that the statements I have above made as to the authorship of the article in question are entirely true. Perhaps I may get wealthy at this, for I am willing to take all the bets that offer; and if a man wants larger odds, I will give him all he requires. But he ought to find out whether I am betting on what is termed “a sure thing” or not before he ventures his money, and he can do that by going to a public library and examining the London Saturday Review of October 8th, which contains the real critique.
Bless me, some people thought that I was the “sold” person!
P. S.—I cannot resist the temptation to toss in this most savory thing of all—this easy, graceful, philosophical disquisition, with its happy, chirping confidence. It is from the Cincinnati Enquirer:
“Nothing is more uncertain than the value of a fine cigar. Nine smokers out of ten would prefer an ordinary domestic article, three for a quarter, to a fifty-cent Partaga, if kept in ignorance of the cost of the latter. The flavor of the Partaga is too delicate for palates that have been accustomed to Connecticut seed leaf. So it is with humor. The finer it is in quality, the more danger of its not being recognized at all. Even Mark Twain has been taken in by an English review of his Innocents Abroad. Mark Twain is by no means a coarse humorist, but the Englishman’s humor is so much finer than his, that he mistakes it for solid earnest, and ‘larfs most consumedly.’ ”
A man who cannot learn stands in his own light. Hereafter, when I write an article which I know to be good, but which I may have reason to fear will not, in some quarters, be considered to amount to much, coming from an American, I will aver that an Englishman wrote it and that it is copied from a London journal. And then I will occupy a back seat and enjoy the cordial applause.
(Still later)
“Mark Twain at last sees that the Saturday Review’s criticism of his Innocents Abroad was not serious, and he is intensely mortified at the thought of having been so badly sold. He takes the only course left him, and in the last Galaxy claims that he wrote the criticism himself, and published it in The Galaxy to sell the public. This is ingenious, but unfortunately it is not true. If any of our readers will take the trouble to call at this office we will show them the original article in the Saturday Review of October 8th, which, on comparison, will be found to be identical with the one published in The Galaxy. The best thing for Mark to do will be to admit that he was sold, and say no more about it.”
The above is from the Cincinnati Enquirer, and is a falsehood. Come to the proof. If the Enquirer people, through any agent, will produce at The Galaxy office a London Saturday Review of October 8th, containing an “article which, on comparison, will be found to be that identical with the one published in The Galaxy, I will pay to that agent five hundred dollars cash. Moreover, if at any specified time I fail to produce at the same place a copy of the London Saturday Review of October 8th, containing a lengthy criticism upon the Innocents Abroad, entirely different, in every paragraph and sentence, from the one I published in The Galaxy, I will pay to the Enquirer agent another five hundred dollars cash. I offer Sheldon & Co., publishers, 500 Broadway, New York, as my “backers.” Any one in New York, authorized by the Enquirer, will receive prompt attention. It is an easy and profitable way for the Enquirer people to prove that they have not uttered a pitiful, deliberate falsehood in the above paragraphs. Will they swallow that falsehood ignominiously, or will they send an agent to The Galaxy office? I think the Cincinnati Enquirer must be edited by children.
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Mark Twain short stories
kempis poetry magazine
More in: Archive S-T, Twain, Mark
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Multatuli
(1820-1887)
Ideën (7 delen, 1862-1877)
Idee Nr. 1096
Ik zal wel genoodzaakt wezen soms terugtekomen op eenige byzonderheden in de werking van zekere boeken op Wouter’s gemoed. Evenals dokter Holsma vroeg wat de familie gewoon was te eten, toen-i geraadpleegd werd over de menigvuldige kwalen van Petrò, heeft de lezer eenig recht op de kennis van wat er al zoo aan Wouter werd ingegeven in die leesbibliotheek op den Zeedyk. En ik zou ‘n slordige geschiedschryver zyn als ik daarvan geen melding maakte.
Daar waren drie, vier, planken, die met ‘r allen één schryver torschten…
O!
Voor-als-nog voel ik me onbekwaam den indruk te schetsen van die… vier planken! Ik zou daartoe meer kans zien wanneer ik alleen bejaarde menschen onder m’n gehoor had, personen by wie ‘tmeminisse me kon te-hulp komen…
Ach!
Maar om nu, nu, in 1873…
na ‘t wonderjaar ’48…
na en gedurende de toepassing van stoom en elektriciteit…
na ‘t uitvinden van debating-clubs en kieskollegien…
na de verheffing der Industrie tot ‘n generale agentuur ter bevordering der sofistikatie van levensmiddelen…
na ‘t oprichten van hoogere-burgerscholen en de schrikbarende vermenigvuldiging van knappe kinderen…
na ‘t meedoogenloos uitroeien van het naïve…
na, na… na alles dus wat het tegenwoordig geslacht zoo oneindig hoog verheft boven ‘t voorlaatste…
Ik wil maar zeggen dat ik niet den moed heb, den naam te noemen van ‘n schryver die zestig jaar geleden zooveel planken buigen, en zooveel harten kloppen deed, tot brekens en berstens toe.
Toch hoop ik ‘t eenmaal te doen, en wel zoodra ik mezelf betrap op ‘n vleugje van excentriciteit.
Maar vooraf heb ik behoefte aan ‘t opfrisschen van m’n herinnering. Al beleefde ik den bloeityd der hier bedoelde soort van litteratuur niet, toch ligt de kennismaking te lang achter my, om zonder opzettelyke studie den toenmaligen smaak te kunnen toetsen aan m’n tegenwoordig oordeel. Ik moet eerst ‘n gedeelte van die werken – godbewaarme voor de heele vier planken! – met aandacht weder lezen. De my opgelegde taak heeft iets van ‘n geestbezwering, en de veelschryvende vriend van m’n jeugd zal wel genoodzaakt wezen ter-zyner tyd de rol te spelen van revenant.
Dit weet ik, en ‘t verwonderde my dus in ‘t minst niet by onderscheiden gelegenheden te bemerken dat z’n naam uit het geheugen gewischt is van de kleinkinderen zyner vereerders niet alleen, maar zelfs van bekwame boekhandelaars en bibliofilen! Ach – en: O! – sic transit!
Die naam was toch eenmaal ‘t pas- wacht- en heiligwoord, waaraan legioenen eenzame kluizenaars in afgelegen dalen en ongenaakbare wildernissen, elkaar herkenden! Er bestond ‘n tyd, dat het portret van dien man in armband of halssieraad, het uitsluitend bevoorrecht embleem was, hetshibboleth van modieuze gevoeligheid en sentimenteelen goeden toon. Verloofden zwoeren dure eeden dat ‘s mans helden en heldinnen – nu ja, één of twee uit den groep – peet wezen zouden van de eerste – en volgende – vruchten hunner ‘bekroonde’ liefde, en menig trouwverbond werd gesloten onder aanroeping van de… aandoeningen – ‘beginselen’ mag ik niet zeggen – die hy had opgewekt in de harten!
Om me voortebereiden tot de nauwkeurigheid die ik hoop in-acht te nemen by de behandeling van dien schryver, moet ik reeds nu de opmerking maken dat dit: ‘opwekken van aandoeningen’ slechts in zeer betrekkelyken zin juist gezegd is. Op de individuen die zich overgaven aan de betoovering van z’n stem, moge deze uitdrukking nagenoeg toepasselyk zyn, over ‘t geheel echter was de door my bedoelde voorganger van één dag, slechts de uitdrukking van z’n tyd, een der trompetten waarop de logika der feiten ‘t mondstuk zet.
Voorloopig echter wil ik dit voorbyzien. Hy oefende grooten invloed uit, en is in zekeren zin een der hoofdbewerkers van ‘t hedendaagsch materialismus, geenszins in theologischen zin – j’en suis! – maar in zedelyke en artistieke beteekenis. Ik bedoel het materialismus der geldmakery, en van de jacht op plomp genot.
De lezer zal aan ‘n drukfout denken, of – met ‘n krant die me dezer dagen onder de oogen kwam – meenen dat ‘de oorlog met Atjin me in ‘t hoofd geslagen is’ wanneer-i, na deze bewering, te weten komt dat de O! ‘s en Ach! ‘s waarmee ik zoo-even ‘n paar zinsneden verfraaide, aan dien schryver ontleend zyn. O- en Ach-auteurs en… materialismus?
Ja. O! Ach! en materialismus!
Om nu den lezer nog verder van den weg te helpen…
Reklame! Onder al de dertienhonderd millioen aardbewoners is niemand dan ik in-staat hem er weer behoorlyk op te brengen. En alzoo:
… om ‘t verband tusschen die eenzame kluizenaars, halssieraden, peetschappen en trouwbeloften met materialismus, nog ontastbaarder te maken…
O!
…en den lezer te dwingen op myn bon plaisir te wachten voor-i den sleutel vindt, waarmee deze mysterie kan ontraadseld worden…
Ach!
…daarom hier ‘n citaat uit onzen schryver. Men bedenke dat ik z’n boeken niet by-de-hand heb, en uit het geheugen aanhaal.
‘En zuchtte zy: Ergoteles,
Dan lispte hy: Theone!’
Zie-zoo, m’n ‘knoop’ is gereed! De lezer is nu wel genoodzaakt m’n schryfheld onder verzenmakers te zoeken: éérste dwaling. Hy moet hem voor ‘n graecus houden: Ergoteles…?????! Theone…????! Dit is duidelyk, niet waar? Zeer duidelyk, en de tweede dwaling. Hy was ‘n schoolmeester, en plaatste ‘t woord: Ergoteles in de maat, om z’n leerlingen te waarschuwen tegen ‘n lapsisch: èrregotélis. Ook dit lydt geen tegenspraak, en vormt alzoo de derde dwaling die ik in ‘t leven roepen wilde.
Quaeritur nu: welke graecizeerende verzenmakende schoolmeester heeft met behulp van: O! en:Ach! meegewerkt aan ‘t veroorzaken van het thans heerschend materialismus op ‘t gebied van Smaak, Kunst en Zeden?
O? Ja! Ach? Ja! En men durft spreken van Göthe’s Werther! Van ‘t onnoozel liefdeheldje dat de schuld dragen zou van zooveel zelfmoorden? Gekheid! Noch Göthe, noch een van z’n scheppingen waren ooit zoo populair als de man van m’n raadseltje en die vyf planken – misschien waren ‘t er zeven of acht! – en wat al die zelfmoorden aangaat, lezer, ik geloof er niet aan. Mocht ik hierin ongelyk hebben, dan nog beweer ik dat één held van myn gevoelsman, des-verkiezende zou in-staat geweest zyn meer kerkhoven te bevolken dan tien Werthers… met de misteekende Mignon er by. Maar dit deden die helden niet, waarlyk niet! Zonder deze pryzenswaardige onthouding toeteschryven aan diskretie alleen… geloof me, lezer, dat sterven aan ongelukkige liefden is ‘n boosaardig uitstrooisel van ‘bekroonde’ echtparen die zich vervelen, en die niet verdragen kunnen dat anderen ‘t romantisch geluk hebben zoo belangwekkend ongelukkig te zyn.
kempis poetry magazine
More in: DICTIONARY OF IDEAS, Multatuli, Multatuli
Multatuli
(1820-1887)
Ideën (7 delen, 1862-1877)
Idee Nr. 1
Misschien is niets geheel waar,
en zelfs dát niet.
kempis poetry magazine
More in: DICTIONARY OF IDEAS, Multatuli, Multatuli
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Joris-Karl Huysmans
(1849-1907)
Le Drageoir aux épices (1874)
IX. Le hareng saur
Ta robe, ô hareng, c’est la palette des soleils couchants, la patine du vieux cuivre, le ton d’or bruni des cuirs de Cordoue, les teintes de santal et de safran des feuillages d’automne!
Ta tête, ô hareng, flamboie comme un casque d’or, et l’on dirait de tes yeux des clous noirs plantés dans des cercles de cuivre!
Toutes les nuances tristes et mornes, toutes les nuances rayonnantes et gaies amortissent et illuminent tour à tour ta robe d’écailles.
A côté des bitumes, des terres de Judée et de Cassel, des ombres brûlées et des verts de Scheele, des bruns Van Dyck et des bronzes florentins, des teintes de rouille et de feuille morte, resplendissent, de tout leur éclat, les ors verdis, les ambres jaunes, les orpins, les ocres de rhu, les chromes, les oranges de mars!
O miroitant et terne enfumé, quand je contemple ta cotte de mailles, je pense aux tableaux de Rembrandt, je revois ses têtes superbes, ses chairs ensoleillées, ses scintillements de bijoux sur le velours noir; je revois ses jets de lumière dans la nuit, ses traînées de poudre d’or dans l’ombre, ses éclosions de soleils sous les noirs arceaux!
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More in: -Le Drageoir aux épices, Huysmans, J.-K.
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Elf Söhne
Franz Kafka (1883-1924)
Ich habe elf Söhne.
Der Erste ist äußerlich sehr unansehnlich, aber ernsthaft und klug; trotzdem schätze ich ihn, wiewohl ich ihn als Kind wie alle andern liebe, nicht sehr hoch ein. Sein Denken scheint mir zu einfach. Er sieht nicht rechts noch links und nicht in die Weite; in seinem kleinen Gedankenkreis läuft er immerfort rundum oder dreht sich vielmehr.
Der Zweite ist schön, schlank, wohlgebaut; es entzückt, ihn in Fechterstellung zu sehen. Auch er ist klug, aber überdies welterfahren; er hat viel gesehen, und deshalb scheint selbst die heimische Natur vertrauter mit ihm zu sprechen, als mit den Daheimgebliebenen. Doch ist gewiß dieser Vorzug nicht nur und nicht einmal wesentlich dem Reisen zu verdanken, er gehört vielmehr zu dem Unnachahmlichen dieses Kindes, das zum Beispiel von jedem anerkannt wird, der etwa seinen vielfach sich überschlagenden und doch geradezu wild beherrschten Kunstsprung ins Wasser ihm nachmachen will. Bis zum Ende des Sprungbrettes reicht der Mut und die Lust, dort aber statt zu springen, setzt sich plötzlich der Nachahmer und hebt entschuldigend die Arme. – Und trotz dem allen (ich sollte doch eigentlich glückselig sein über ein solches Kind) ist mein Verhältnis zu ihm nicht ungetrübt. Sein linkes Auge ist ein wenig kleiner als das rechte und zwinkert viel; ein kleiner Fehler nur, gewiß, der sein Gesicht sogar noch verwegener macht als es sonst gewesen wäre, und niemand wird gegenüber der unnahbaren Abgeschlossenheit seines Wesens dieses kleinere zwinkernde Auge tadelnd bemerken. Ich, der Vater, tue es. Es ist natürlich nicht dieser körperliche Fehler, der mir weh tut, sondern eine ihm irgendwie entsprechende kleine Unregelmäßigkeit seines Geistes, irgendein in seinem Blut irrendes Gift, irgendeine Unfähigkeit, die mir allein sichtbare Anlage seines Lebens rund zu vollenden. Gerade dies macht ihn allerdings andererseits wieder zu meinem wahren Sohn, denn dieser sein Fehler ist gleichzeitig der Fehler unserer ganzen Familie und an diesem Sohn nur überdeutlich.
Der dritte Sohn ist gleichfalls schön, aber es ist nicht die Schönheit, die mir gefällt. Es ist die Schönheit des Sängers: der geschwungene Mund; das träumerische Auge; der Kopf, der eine Draperie hinter sich benötigt, um zu wirken; die unmäßig sich wölbende Brust; die leicht auffahrenden und viel zu leicht sinkenden Hände; die Beine, die sich zieren, weil sie nicht tragen können. Und überdies: der Ton seiner Stimme ist nicht voll; trügt einen Augenblick; läßt den Kenner aufhorchen; veratmet aber kurz darauf. – Trotzdem im allgemeinen alles verlockt, diesen Sohn zur Schau zu stellen, halte ich ihn doch am liebsten im Verborgenen; er selbst drängt sich nicht auf, aber nicht etwa deshalb, weil er seine Mängel kennt, sondern aus Unschuld. Auch fühlt er sich fremd in unserer Zeit; als gehöre er zwar zu meiner Familie, aber überdies noch zu einer andern, ihm für immer verlorenen, ist er oft unlustig und nichts kann ihn aufheitern.
Mein vierter Sohn ist vielleicht der umgänglichste von allen. Ein wahres Kind seiner Zeit, ist er jedermann verständlich, er steht auf dem allen gemeinsamen Boden und jeder ist versucht, ihm zuzunicken. Vielleicht durch diese allgemeine Anerkennung gewinnt sein Wesen etwas Leichtes, seine Bewegungen etwas Freies, seine Urteile etwas Unbekümmertes. Manche seiner Aussprüche möchte man oft wiederholen, allerdings nur manche, denn in seiner Gesamtheit krankt er doch wieder an allzu großer Leichtigkeit. Er ist wie einer, der bewundernswert abspringt, schwalbengleich die Luft teilt, dann aber doch trostlos im öden Staube endet, ein Nichts. Solche Gedanken vergällen mir den Anblick dieses Kindes.
Der fünfte Sohn ist lieb und gut; versprach viel weniger als er hielt; war so unbedeutend, daß man sich förmlich in seiner Gegenwart allein fühlte; hat es aber doch zu einigem Ansehen gebracht. Fragte man mich, wie das geschehen ist, so könnte ich kaum antworten. Unschuld dringt vielleicht doch noch am leichtesten durch das Toben der Elemente in dieser Welt, und unschuldig ist er. Vielleicht allzu unschuldig.
Freundlich zu jedermann. Vielleicht allzu freundlich. Ich gestehe: mir wird nicht wohl, wenn man ihn mir gegenüber lobt. Es heißt doch, sich das Loben etwas zu leicht zu machen, wenn man einen so offensichtlich Lobenswürdigen lobt, wie es mein Sohn ist.
Mein sechster Sohn scheint, wenigstens auf den ersten Blick, der tiefsinnigste von allen. Ein Kopfhänger und doch ein Schwätzer. Deshalb kommt man ihm nicht leicht bei. Ist er am Unterliegen, so verfällt er in unbesiegbare Traurigkeit; erlangt er das Übergewicht, so wahrt er es durch Schwätzen. Doch spreche ich ihm eine gewisse selbstvergessene Leidenschaft nicht ab; bei hellem Tag kämpft er sich oft durch das Denken wie im Traum. Ohne krank zu sein – vielmehr hat er eine sehr gute Gesundheit – taumelt er manchmal, besonders in der Dämmerung, braucht aber keine Hilfe, fällt nicht. Vielleicht hat an dieser Erscheinung seine körperliche Entwicklung schuld, er ist viel zu groß für sein Alter. Das macht ihn unschön im Ganzen, trotz auffallend schöner Einzelheiten, zum Beispiel der Hände und Füße. Unschön ist übrigens auch seine Stirn; sowohl in der Haut, als in der Knochenbildung irgendwie verschrumpft.
Der siebente Sohn gehört mir vielleicht mehr als alle andern. Die Welt versteht ihn nicht zu würdigen; seine besondere Art von Witz versteht sie nicht. Ich überschätze ihn nicht; ich weiß, er ist geringfügig genug; hätte die Welt keinen andern Fehler als den, daß sie ihn nicht zu würdigen weiß, sie wäre noch immer makellos. Aber innerhalb der Familie wollte ich diesen Sohn nicht missen. Sowohl Unruhe bringt er, als auch Ehrfurcht vor der Überlieferung, und beides fügt er, wenigstens für mein Gefühl, zu einem unanfechtbaren Ganzen. Mit diesem Ganzen weiß er allerdings selbst am wenigsten etwas anzufangen; das Rad der Zukunft wird er nicht ins Rollen bringen; aber diese seine Anlage ist so aufmunternd, so hoffnungsreich; ich wollte, er hätte Kinder und diese wieder Kinder. Leider scheint sich dieser Wunsch nicht erfüllen zu wollen. In einer mir zwar begreiflichen, aber ebenso unerwünschten Selbstzufriedenheit, die allerdings in großartigem Gegensatz zum Urteil seiner Umgebung steht, treibt er sich allein umher, kümmert sich nicht um Mädchen und wird trotzdem niemals seine gute Laune verlieren.
Mein achter Sohn ist mein Schmerzenskind, und ich weiß eigentlich keinen Grund dafür. Er sieht mich fremd an, und ich fühle mich doch väterlich eng mit ihm verbunden. Die Zeit hat vieles gut gemacht; früher aber befiel mich manchmal ein Zittern, wenn ich nur an ihn dachte. Er geht seinen eigenen Weg; hat alle Verbindungen mit mir abgebrochen; und wird gewiß mit seinem harten Schädel, seinem kleinen athletischen Körper – nur die Beine hatte er als Junge recht schwach, aber das mag sich inzwischen schon ausgeglichen haben – überall durchkommen, wo es ihm beliebt. Öfters hatte ich Lust, ihn zurückzurufen, ihn zu fragen, wie es eigentlich um ihn steht, warum er sich vom Vater so abschließt und was er im Grunde beabsichtigt, aber nun ist er so weit und so viel Zeit ist schon vergangen, nun mag es so bleiben wie es ist. Ich höre, daß er als der einzige meiner Söhne einen Vollbart trägt; schön ist das bei einem so kleinen Mann natürlich nicht.
Mein neunter Sohn ist sehr elegant und hat den für Frauen bestimmten süßen Blick. So süß, daß er bei Gelegenheit sogar mich verführen kann, der ich doch weiß, daß förmlich ein nasser Schwamm genügt, um allen diesen überirdischen Glanz wegzuwischen. Das Besondere an diesem Jungen aber ist, daß er gar nicht auf Verführung ausgeht; ihm würde es genügen, sein Leben lang auf dem Kanapee zu liegen und seinen Blick an die Zimmerdecke zu verschwenden oder noch viel lieber ihn unter den Augenlidern ruhen zu lassen. Ist er in dieser von ihm bevorzugten Lage, dann spricht er gern und nicht übel; gedrängt und anschaulich; aber doch nur in engen Grenzen; geht er über sie hinaus, was sich bei ihrer Enge nicht vermeiden läßt, wird sein Reden ganz leer. Man würde ihm abwinken, wenn man Hoffnung hätte, daß dieser mit Schlaf gefüllte Blick es bemerken könnte.
Mein zehnter Sohn gilt als unaufrichtiger Charakter. Ich will diesen Fehler nicht ganz in Abrede stellen, nicht ganz bestätigen. Sicher ist, daß, wer ihn in der weit über sein Alter hinausgehenden Feierlichkeit herankommen sieht, im immer festgeschlossenen Gehrock, im alten, aber übersorgfältig geputzten schwarzen Hut, mit dem unbewegten Gesicht, dem etwas vorragenden Kinn, den schwer über die Augen sich wölbenden Lidern, den manchmal an den Mund geführten zwei Fingern – wer ihn so sieht, denkt: das ist ein grenzenloser Heuchler. Aber, nun höre man ihn reden! Verständig; mit Bedacht; kurz angebunden; mit boshafter Lebendigkeit Fragen durchkreuzend; in erstaunlicher, selbstverständlicher und froher Übereinstimmung mit dem Weltganzen; eine Übereinstimmung, die notwendigerweise den Hals strafft und den Kopf erheben läßt. Viele, die sich sehr klug dünken und die sich, aus diesem Grunde wie sie meinten, von seinem Äußern abgestoßen fühlten, hat er durch sein Wort stark angezogen. Nun gibt es aber wieder Leute, die sein Äußeres gleichgültig läßt, denen aber sein Wort heuchlerisch erscheint. Ich, als Vater, will hier nicht entscheiden, doch muß ich eingestehen, daß die letzteren Beurteiler jedenfalls beachtenswerter sind als die ersteren.
Mein elfter Sohn ist zart, wohl der schwächste unter meinen Söhnen; aber täuschend in seiner Schwäche; er kann nämlich zu Zeiten kräftig und bestimmt sein, doch ist allerdings selbst dann die Schwäche irgendwie grundlegend. Es ist aber keine beschämende Schwäche, sondern etwas, das nur auf diesem unsern Erdboden als Schwäche erscheint. Ist nicht zum Beispiel auch Flugbereitschaft Schwäche, da sie doch Schwanken und Unbestimmtheit und Flattern ist? Etwas Derartiges zeigt mein Sohn. Den Vater freuen natürlich solche Eigenschaften nicht; sie gehen ja offenbar
auf Zerstörung der Familie aus. Manchmal blickt er mich an, als wollte er mir sagen: »Ich werde dich mitnehmen, Vater.« Dann denke ich: »Du wärst der Letzte, dem ich mich vertraue.« Und sein Blick scheint wieder zu sagen: »Mag ich also wenigstens der Letzte sein.«
Das sind die elf Söhne.
Franz Kafka : Ein Landarzt. Kleine Erzählungen (1919)
fleursdumal.nl magazine
More in: Archive K-L, Franz Kafka, Kafka, Franz, Kafka, Franz
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Virginia Woolf
(1882-1941)
Jane Austen
It is probable that if Miss Cassandra Austen had had her way we should have had nothing of Jane Austen’s except her novels. To her elder sister alone did she write freely; to her alone she confided her hopes and, if rumour is true, the one great disappointment of her life; but when Miss Cassandra Austen grew old, and the growth of her sister’s fame made her suspect that a time might come when strangers would pry and scholars speculate, she burnt, at great cost to herself, every letter that could gratify their curiosity, and spared only what she judged too trivial to be of interest.
Hence our knowledge of Jane Austen is derived from a little gossip, a few letters, and her books. As for the gossip, gossip which has survived its day is never despicable; with a little rearrangement it suits our purpose admirably. For example, Jane “is not at all pretty and very prim, unlike a girl of twelve . . . Jane is whimsical and affected,” says little Philadelphia Austen of her cousin. Then we have Mrs. Mitford, who knew the Austens as girls and thought Jane “the prettiest, silliest, most affected husband-hunting butterfly she ever remembers “. Next, there is Miss Mitford’s anonymous friend “who visits her now [and] says that she has stiffened into the most perpendicular, precise, taciturn piece of ‘single blessedness’ that ever existed, and that, until Pride and Prejudice showed what a precious gem was hidden in that unbending case, she was no more regarded in society than a poker or firescreen. . . . The case is very different now”, the good lady goes on; “she is still a poker — but a poker of whom everybody is afraid. . . . A wit, a delineator of character, who does not talk is terrific indeed!” On the other side, of course, there are the Austens, a race little given to panegyric of themselves, but nevertheless, they say, her brothers “were very fond and very proud of her. They were attached to her by her talents, her virtues, and her engaging manners, and each loved afterwards to fancy a resemblance in some niece or daughter of his own to the dear sister Jane, whose perfect equal they yet never expected to see.” Charming but perpendicular, loved at home but feared by strangers, biting of tongue but tender of heart — these contrasts are by no means incompatible, and when we turn to the novels we shall find ourselves stumbling there too over the same complexities in the writer.
To begin with, that prim little girl whom Philadelphia found so unlike a child of twelve, whimsical and affected, was soon to be the authoress of an astonishing and unchildish story, Love and Freindship,8 which, incredible though it appears, was written at the age of fifteen. It was written, apparently, to amuse the schoolroom; one of the stories in the same book is dedicated with mock solemnity to her brother; another is neatly illustrated with water-colour heads by her sister. These are jokes which, one feels, were family property; thrusts of satire, which went home because all little Austens made mock in common of fine ladies who “sighed and fainted on the sofa”.
Brothers and sisters must have laughed when Jane read out loud her last hit at the vices which they all abhorred. “I die a martyr to my grief for the loss of Augustus. One fatal swoon has cost me my life. Beware of Swoons, Dear Laura. . . . Run mad as often as you chuse, but do not faint. . . .” And on she rushed, as fast as she could write and quicker than she could spell, to tell the incredible adventures of Laura and Sophia, of Philander and Gustavus, of the gentleman who drove a coach between Edinburgh and Stirling every other day, of the theft of the fortune that was kept in the table drawer, of the starving mothers and the sons who acted Macbeth. Undoubtedly, the story must have roused the schoolroom to uproarious laughter. And yet, nothing is more obvious than that this girl of fifteen, sitting in her private corner of the common parlour, was writing not to draw a laugh from brother and sisters, and not for home consumption. She was writing for everybody, for nobody, for our age, for her own; in other words, even at that early age Jane Austen was writing. One hears it in the rhythm and shapeliness and severity of the sentences. “She was nothing more than a mere good-tempered, civil, and obliging young woman; as such we could scarcely dislike her — she was only an object of contempt.” Such a sentence is meant to outlast the Christmas holidays. Spirited, easy, full of fun, verging with freedom upon sheer nonsense,— Love and Freindship is all that; but what is this note which never merges in the rest, which sounds distinctly and penetratingly all through the volume? It is the sound of laughter. The girl of fifteen is laughing, in her corner, at the world.
Girls of fifteen are always laughing. They laugh when Mr. Binney helps himself to salt instead of sugar. They almost die of laughing when old Mrs. Tomkins sits down upon the cat. But they are crying the moment after. They have no fixed abode from which they see that there is something eternally laughable in human nature, some quality in men and women that for ever excites our satire. They do not know that Lady Greville who snubs, and poor Maria who is snubbed, are permanent features of every ballroom. But Jane Austen knew it from her birth upwards. One of those fairies who perch upon cradles must have taken her a flight through the world directly she was born. When she was laid in the cradle again she knew not only what the world looked like, but had already chosen her kingdom. She had agreed that if she might rule over that territory, she would covet no other. Thus at fifteen she had few illusions about other people and none about herself. Whatever she writes is finished and turned and set in its relation, not to the parsonage, but to the universe. She is impersonal; she is inscrutable. When the writer, Jane Austen, wrote down in the most remarkable sketch in the book a little of Lady Greville’s conversation, there is no trace of anger at the snub which the clergyman’s daughter, Jane Austen, once received. Her gaze passes straight to the mark, and we know precisely where, upon the map of human nature, that mark is. We know because Jane Austen kept to her compact; she never trespassed beyond her boundaries. Never, even at the emotional age of fifteen, did she round upon herself in shame, obliterate a sarcasm in a spasm of compassion, or blur an outline in a mist of rhapsody. Spasms and rhapsodies, she seems to have said, pointing with her stick, end THERE; and the boundary line is perfectly distinct. But she does not deny that moons and mountains and castles exist — on the other side. She has even one romance of her own. It is for the Queen of Scots. She really admired her very much. “One of the first characters in the world”, she called her, “a bewitching Princess whose only friend was then the Duke of Norfolk, and whose only ones now Mr. Whitaker, Mrs. Lefroy, Mrs. Knight and myself.” With these words her passion is neatly circumscribed, and rounded with a laugh. It is amusing to remember in what terms the young Brontë‘s wrote, not very much later, in their northern parsonage, about the Duke of Wellington.
The prim little girl grew up. She became “the prettiest, silliest, most affected husband-hunting butterfly” Mrs. Mitford ever remembered, and, incidentally, the authoress of a novel called Pride and Prejudice, which, written stealthily under cover of a creaking door, lay for many years unpublished. A little later, it is thought, she began another story, The Watsons, and being for some reason dissatisfied with it, left it unfinished. The second-rate works of a great writer are worth reading because they offer the best criticism of his masterpieces. Here her difficulties are more apparent, and the method she took to overcome them less artfully concealed. To begin with, the stiffness and the bareness of the first chapters prove that she was one of those writers who lay their facts out rather baldly in the first version and then go back and back and back and cover them with flesh and atmosphere. How it would have been done we cannot say — by what suppressions and insertions and artful devices. But the miracle would have been accomplished; the dull history of fourteen years of family life would have been converted into another of those exquisite and apparently effortless introductions; and we should never have guessed what pages of preliminary drudgery Jane Austen forced her pen to go through. Here we perceive that she was no conjuror after all. Like other writers, she had to create the atmosphere in which her own peculiar genius could bear fruit. Here she fumbles; here she keeps us waiting. Suddenly she has done it; now things can happen as she likes things to happen. The Edwardses are going to the ball. The Tomlinsons’ carriage is passing; she can tell us that Charles is “being provided with his gloves and told to keep them on”; Tom Musgrave retreats to a remote corner with a barrel of oysters and is famously snug. Her genius is freed and active. At once our senses quicken; we are possessed with the peculiar intensity which she alone can impart. But of what is it all composed? Of a ball in a country town; a few couples meeting and taking hands in an assembly room; a little eating and drinking; and for catastrophe, a boy being snubbed by one young lady and kindly treated by another. There is no tragedy and no heroism. Yet for some reason the little scene is moving out of all proportion to its surface solemnity. We have been made to see that if Emma acted so in the ball-room, how considerate, how tender, inspired by what sincerity of feeling she would have shown herself in those graver crises of life which, as we watch her, come inevitably before our eyes. Jane Austen is thus a mistress of much deeper emotion than appears upon the surface. She stimulates us to supply what is not there. What she offers is, apparently, a trifle, yet is composed of something that expands in the reader’s mind and endows with the most enduring form of life scenes which are outwardly trivial. Always the stress is laid upon character. How, we are made to wonder, will Emma behave when Lord Osborne and Tom Musgrave make their call at five minutes before three, just as Mary is bringing in the tray and the knife-case? It is an extremely awkward situation. The young men are accustomed to much greater refinement. Emma may prove herself ill-bred, vulgar, a nonentity. The turns and twists of the dialogue keep us on the tenterhooks of suspense. Our attention is half upon the present moment, half upon the future. And when, in the end, Emma behaves in such a way as to vindicate our highest hopes of her, we are moved as if we had been made witnesses of a matter of the highest importance. Here, indeed, in this unfinished and in the main inferior story, are all the elements of Jane Austen’s greatness. It has the permanent quality of literature. Think away the surface animation, the likeness to life, and there remains, to provide a deeper pleasure, an exquisite discrimination of human values. Dismiss this too from the mind and one can dwell with extreme satisfaction upon the more abstract art which, in the ball-room scene, so varies the emotions and proportions the parts that it is possible to enjoy it, as one enjoys poetry, for itself, and not as a link which carries the story this way and that.
But the gossip says of Jane Austen that she was perpendicular, precise, and taciturn —“a poker of whom everybody is afraid”. Of this too there are traces; she could be merciless enough; she is one of the most consistent satirists in the whole of literature. Those first angular chapters of The Watsons prove that hers was not a prolific genius; she had not, like Emily Brontë, merely to open the door to make herself felt. Humbly and gaily she collected the twigs and straws out of which the nest was to be made and placed them neatly together. The twigs and straws were a little dry and a little dusty in themselves. There was the big house and the little house; a tea party, a dinner party, and an occasional picnic; life was hedged in by valuable connections and adequate incomes; by muddy roads, wet feet, and a tendency on the part of the ladies to get tired; a little principle supported it, a little consequence, and the education commonly enjoyed by upper middle-class families living in the country. Vice, adventure, passion were left outside. But of all this prosiness, of all this littleness, she evades nothing, and nothing is slurred over. Patiently and precisely she tells us how they “made no stop anywhere till they reached Newbury, where a comfortable meal, uniting dinner and supper, wound up the enjoyments and fatigues of the day”. Nor does she pay to conventions merely the tribute of lip homage; she believes in them besides accepting them. When she is describing a clergyman, like Edmund Bertram, or a sailor, in particular, she appears debarred by the sanctity of his office from the free use of her chief tool, the comic genius, and is apt therefore to lapse into decorous panegyric or matter-of-fact description. But these are exceptions; for the most part her attitude recalls the anonymous lady’s ejaculation —“A wit, a delineator of character, who does not talk is terrific indeed!” She wishes neither to reform nor to annihilate; she is silent; and that is terrific indeed. One after another she creates her fools, her prigs, her worldlings, her Mr. Collinses, her Sir Walter Elliotts, her Mrs. Bennets. She encircles them with the lash of a whip-like phrase which, as it runs round them, cuts out their silhouettes for ever. But there they remain; no excuse is found for them and no mercy shown them. Nothing remains of Julia and Maria Bertram when she has done with them; Lady Bertram is left “sitting and calling to Pug and trying to keep him from the flower-beds” eternally. A divine justice is meted out; Dr. Grant, who begins by liking his goose tender, ends by bringing on “apoplexy and death, by three great institutionary dinners in one week”. Sometimes it seems as if her creatures were born merely to give Jane Austen the supreme delight of slicing their heads off. She is satisfied; she is content; she would not alter a hair on anybody’s head, or move one brick or one blade of grass in a world which provides her with such exquisite delight.
Nor, indeed, would we. For even if the pangs of outraged vanity, or the heat of moral wrath, urged us to improve away a world so full of spite, pettiness, and folly, the task is beyond our powers. People are like that — the girl of fifteen knew it; the mature woman proves it. At this very moment some Lady Bertram is trying to keep Pug from the flower beds; she sends Chapman to help Miss Fanny a little late. The discrimination is so perfect, the satire so just, that, consistent though it is, it almost escapes our notice. No touch of pettiness, no hint of spite, rouse us from our contemplation. Delight strangely mingles with our amusement. Beauty illumines these fools.
That elusive quality is, indeed, often made up of very different parts, which it needs a peculiar genius to bring together. The wit of Jane Austen has for partner the perfection of her taste. Her fool is a fool, her snob is a snob, because he departs from the model of sanity and sense which she has in mind, and conveys to us unmistakably even while she makes us laugh. Never did any novelist make more use of an impeccable sense of human values. It is against the disc of an unerring heart, an unfailing good taste, an almost stern morality, that she shows up those deviations from kindness, truth, and sincerity which are among the most delightful things in English literature. She depicts a Mary Crawford in her mixture of good and bad entirely by this means. She lets her rattle on against the clergy, or in favour of a baronetage and ten thousand a year, with all the ease and spirit possible; but now and again she strikes one note of her own, very quietly, but in perfect tune, and at once all Mary Crawford’s chatter, though it continues to amuse, rings flat. Hence the depth, the beauty, the complexity of her scenes. From such contrasts there comes a beauty, a solemnity even, which are not only as remarkable as her wit, but an inseparable part of it. In The Watsons she gives us a foretaste of this power; she makes us wonder why an ordinary act of kindness, as she describes it, becomes so full of meaning. In her masterpieces, the same gift is brought to perfection. Here is nothing out of the way; it is midday in Northamptonshire; a dull young man is talking to rather a weakly young woman on the stairs as they go up to dress for dinner, with housemaids passing. But, from triviality, from commonplace, their words become suddenly full of meaning, and the moment for both one of the most memorable in their lives. It fills itself; it shines; it glows; it hangs before us, deep, trembling, serene for a second; next, the housemaid passes, and this drop, in which all the happiness of life has collected, gently subsides again to become part of the ebb and flow of ordinary existence.
What more natural, then, with this insight into their profundity, than that Jane Austen should have chosen to write of the trivialities of day-to-day existence, of parties, picnics, and country dances? No “suggestions to alter her style of writing” from the Prince Regent or Mr. Clarke could tempt her; no romance, no adventure, no politics or intrigue could hold a candle to life on a country-house staircase as she saw it. Indeed, the Prince Regent and his librarian had run their heads against a very formidable obstacle; they were trying to tamper with an incorruptible conscience, to disturb an infallible discretion. The child who formed her sentences so finely when she was fifteen never ceased to form them, and never wrote for the Prince Regent or his Librarian, but for the world at large. She knew exactly what her powers were, and what material they were fitted to deal with as material should be dealt with by a writer whose standard of finality was high. There were impressions that lay outside her province; emotions that by no stretch or artifice could be properly coated and covered by her own resources. For example, she could not make a girl talk enthusiastically of banners and chapels. She could not throw herself whole-heartedly into a romantic moment. She had all sorts of devices for evading scenes of passion. Nature and its beauties she approached in a sidelong way of her own. She describes a beautiful night without once mentioning the moon. Nevertheless, as we read the few formal phrases about “the brilliancy of an unclouded night and the contrast of the deep shade of the woods”, the night is at once as “solemn, and soothing, and lovely” as she tells us, quite simply, that it was.
The balance of her gifts was singularly perfect. Among her finished novels there are no failures, and among her many chapters few that sink markedly below the level of the others. But, after all, she died at the age of forty-two. She died at the height of her powers. She was still subject to those changes which often make the final period of a writer’s career the most interesting of all. Vivacious, irrepressible, gifted with an invention of great vitality, there can be no doubt that she would have written more, had she lived, and it is tempting to consider whether she would not have written differently. The boundaries were marked; moons, mountains, and castles lay on the other side. But was she not sometimes tempted to trespass for a minute? Was she not beginning, in her own gay and brilliant manner, to contemplate a little voyage of discovery?
Let us take Persuasion, the last completed novel, and look by its light at the books she might have written had she lived. There is a peculiar beauty and a peculiar dullness in Persuasion. The dullness is that which so often marks the transition stage between two different periods. The writer is a little bored. She has grown too familiar with the ways of her world; she no longer notes them freshly. There is an asperity in her comedy which suggests that she has almost ceased to be amused by the vanities of a Sir Walter or the snobbery of a Miss Elliott. The satire is harsh, and the comedy crude. She is no longer so freshly aware of the amusements of daily life. Her mind is not altogether on her object. But, while we feel that Jane Austen has done this before, and done it better, we also feel that she is trying to do something which she has never yet attempted. There is a new element in Persuasion, the quality, perhaps, that made Dr. Whewell fire up and insist that it was “the most beautiful of her works”. She is beginning to discover that the world is larger, more mysterious, and more romantic than she had supposed. We feel it to be true of herself when she says of Anne: “She had been forced into prudence in her youth, she learned romance as she grew older — the natural sequel of an unnatural beginning”. She dwells frequently upon the beauty and the melancholy of nature, upon the autumn where she had been wont to dwell upon the spring. She talks of the “influence so sweet and so sad of autumnal months in the country”. She marks “the tawny leaves and withered hedges”. “One does not love a place the less because one has suffered in it”, she observes. But it is not only in a new sensibility to nature that we detect the change. Her attitude to life itself is altered. She is seeing it, for the greater part of the book, through the eyes of a woman who, unhappy herself, has a special sympathy for the happiness and unhappiness of others, which, until the very end, she is forced to comment upon in silence. Therefore the observation is less of facts and more of feelings than is usual. There is an expressed emotion in the scene at the concert and in the famous talk about woman’s constancy which proves not merely the biographical fact that Jane Austen had loved, but the aesthetic fact that she was no longer afraid to say so. Experience, when it was of a serious kind, had to sink very deep, and to be thoroughly disinfected by the passage of time, before she allowed herself to deal with it in fiction. But now, in 1817, she was ready. Outwardly, too, in her circumstances, a change was imminent. Her fame had grown very slowly. “I doubt”, wrote Mr. Austen Leigh, “whether it would be possible to mention any other author of note whose personal obscurity was so complete.” Had she lived a few more years only, all that would have been altered. She would have stayed in London, dined out, lunched out, met famous people, made new friends, read, travelled, and carried back to the quiet country cottage a hoard of observations to feast upon at leisure.
And what effect would all this have had upon the six novels that Jane Austen did not write? She would not have written of crime, of passion, or of adventure. She would not have been rushed by the importunity of publishers or the flattery of friends into slovenliness or insincerity. But she would have known more. Her sense of security would have been shaken. Her comedy would have suffered. She would have trusted less (this is already perceptible in Persuasion) to dialogue and more to reflection to give us a knowledge of her characters. Those marvellous little speeches which sum up, in a few minutes’ chatter, all that we need in order to know an Admiral Croft or a Mrs. Musgrove for ever, that shorthand, hit-or-miss method which contains chapters of analysis and psychology, would have become too crude to hold all that she now perceived of the complexity of human nature. She would have devised a method, clear and composed as ever, but deeper and more suggestive, for conveying not only what people say, but what they leave unsaid; not only what they are, but what life is. She would have stood farther away from her characters, and seen them more as a group, less as individuals. Her satire, while it played less incessantly, would have been more stringent and severe. She would have been the forerunner of Henry James and of Proust — but enough. Vain are these speculations: the most perfect artist among women, the writer whose books are immortal, died “just as she was beginning to feel confidence in her own success”.
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Virginia Woolf: The Common Reader
kempis poetry magazine
More in: Archive W-X, Austen, Jane, Austen, Jane, Woolf, Virginia
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Joris-Karl Huysmans
(1849-1907)
Le Drageoir aux épices (1874)
VIII. Claudine
Un matin d’avril, vers cinq heures, Just Moravaut, garçon boucher, remonta la rue Régis et se dirigea vers l’une des entrées du marché Saint-Maur. A la même heure, Aristide Spiker, marchand de poissons, sortit de la rue du Cherche-Midi par la rue Bérite et se dirigea vers l’entrée du marché opposée à celle de la rue Gerbillon. Just et Aristide marchèrent l’un vers l’autre et, sans dire mot, se bourrèrent la face de coups de poing. Avant que l’on fut venu les séparer, Just avait un oeil gonflé comme un oeuf poché et Aristide le nez rouge comme une framboise meurtrie. On les emmena au poste, et chacun d’eux put réfléchir à son aise sur les vicissitudes et horreurs de la guerre.
Une demi-heure après que cette rixe avait mis en émoi tout le marché, la petite Claudine arriva avec sa mère, la maman Turtaine, dans une grande charrette encombrée de légumes. Claudine sauta vivement à terre, caressa le nez du cheval et se mit à courir pour se réchauffer. C’était merveille de la voir se trémousser avec son madras sur la tête, sa grosse robe de burat gris, ses manchettes de couleur et ses sabots bourrés de paille. Le soleil se levait, jaune comme ces nymphéas qui nagent sur l’eau des étangs ; la brume se dissipait, une bise glaciale sifflait dans l’air, et le vent d’automne sonnait à plein cor ses navrantes fanfares. Les maraîchers arrivaient en foule, soigneusement emmitouflés, la figure enfouie dans une casquette, le nez seul sortant tout violet des plis d’un vieux foulard, les épaules protégées du froid par une couverture de laine grise vergetée de raies noires, les mains enveloppées de gros gants verts. Les uns déchargeaient leur charrette, les autres allaient boire un petit verre chez le marchand de vin, tandis que les chevaux, enchantés de se retrouver, se frottaient les naseaux et hennissaient joyeusement.
La chaussée était encombrée de légumes et de fruits, et un grand potiron, coupé par le milieu et couché sur le dos, arrondissait sa vasque jaune sur la pourpre sombre des pivoines jetées en tas, pêle-mêle, sur le rebord du trottoir.
Trois boutiques étaient seules ouvertes, celles d’un boucher, d’un marchand de vin et d’un pharmacien. La porte vitrée du cabaret était imprégnée d’une buée qui ne laissait voir les buveurs qu’à travers un voile. Ils ressemblaient ainsi à des ombres chinoises. Ces silhouettes dansaient sur le mur et sur la porte comme sur un drap blanc, les nez se dessinaient bizarrement, les moustaches semblaient démesurées, les barbes devenaient colossales et les chapeaux se cassaient de burlesque façon. Par instants, la porte s’ouvrait, un bruit de voix s’échappait de la salle, et celui qui sortait s’enfonçait les mains dans les poches et courait bien vite à sa boutique ou à sa voiture. Tout en travaillant et buvant, on échangeait le bonjour, on se serrait la main, on gloussait, on riait. Le boucher allumait le gaz, jetait sur le dos de ses garçons des charretées de viande ; sa femme bâillait et lavait avec une éponge la table de marbre de la devanture, pendant que, suspendu par les pieds à des crocs en fer fichés au plafond, le cadavre d’un grand boeuf étalait, sous la lumière crue du gaz, le monstrueux écrin de ses viscères. La tête avait été violemment arrachée du tronc et des bouts de nerfs palpitaient encore, convulsés comme des tronçons de vers, tortillés comme des lisérés. L’estomac tout grand ouvert bâillait atrocement et dégorgeait de sa large fosse des pendeloques d’entrailles rouges. Comme en une serre chaude, une végétation merveilleuse s’épanouissait dans ce cadavre. Des lianes de veines jaillissaient de tous côtés, des ramures échevelées fusaient le long du torse, des floraisons d’intestins déployaient leurs violâtres corolles, et de gros bouquets de graisse éclataient tout blancs sur le rouge fouillis des chairs pantelantes.
Le boucher semblait émerveillé par ce spectacle, et près de lui, sur le trottoir, deux vieux paysans avaient appuyé leurs pipes l’une sur l’autre et tiraient de grosses bouffées. Leurs joues s’enflaient comme des ballons et la fumée leur sortait par les narines. Ils aspirèrent une bonne provision d’air froid pour se rafraîchir la bouche, et mirent un petit morceau de papier sur le tabac qui se prit à grésiller et dessina tout flamboyant de capricieuses arabesques sur le papier qui se consumait.
—Voyons, Claudine, dit la mère Turtaine, tu te réchaufferas aussi bien en déchargeant la voiture qu’en sautant, viens m’aider.
—Voilà, maman. Et elle se mit en face de l’aile gauche de la carriole et reçut dans les bras des bottes de fleurs et de salades.
—Dis donc, lui dit une petite paysanne à l’oreille, il paraît que Just et Aristide se sont battus, ce matin: bien sûr pour toi.
—Oh! les vilains garçons! dit Claudine, dont la petite figure devint triste; je leur avais tant recommandé d’être sages!
—ah! tu es bonne! mais ils sont comme deux coqs, ils t’aiment tous les deux, et tu ne t’es pas encore décidée à faire un choix.
—Mais je ne sais pas, moi; je les aime autant l’un que l’autre, et maman ne les aime ni l’un ni l’autre, comment veux-tu que je choisisse?
—Satanée enfant, dit la mère Turtaine, qui sauta lourdement de sa voiture, elle bavarde, elle bavarde, et l’ouvrage n’avance pas. J’aurai aussi vite fait toute seule. Voyons, Claudine, va nettoyer notre case et préparer les chaufferettes. La petite s’éloigna et continua, avec son amie, à disputer des mérites et défauts de ses deux amoureux.
La situation était en effet embarrassante, Claudine les aimait tous deux comme une soeur aimerait deux frères; mais, dame, de là à choisir entre eux un mari, il y avait loin. Just et Aristide ne se ressemblaient pas comme figure, mais chacun, dans son genre, était aussi beau ou aussi laid que l’autre. Aristide était peut-être plus bel homme, mais il témoignait d’un penchant prononcé pour l’adiposité. Just était moins bien taillé, son encolure était moins large, mais il promettait de rester musculeux, et point trivialement bardé de graisse comme son adversaire. Just avait de jolis cheveux blonds, tout frisottants, mais ils n’étaient pas fournis, et, par endroits, l’on entrevoyait sous le buisson une petite clairière. Aristide avait des cheveux blonds, roides et sans grâce, mais d’une nuance plus tendre; et puis, c’était une véritable forêt luxuriante, la raie était à peine tracée, comme un tout petit sentier dans une épaisse forêt. Tous deux étaient francs et bons, mais batailleurs; tous deux n’avaient pas de fortune, mais étaient courageux et ne reculaient pas devant l’ouvrage.
—Enfin, disait la petite Marie, en se posant devant Claudine qui tournait les rubans de son tablier d’un air indécis, cette situation-là ne peut durer, ils finiront par s’égorger. Je parlerai à ta mère, si tu n’oses.
—Oh! non je t’en prie, ne dis rien, maman me gronderait, leur dirait des sottises et leur défendrait de m’adresser la parole.
—Voyons, Claudine, nous allons peser les qualités et les défauts, les avantages et les désavantages de chacun, et puis nous verrons lequel des deux vaut le mieux! D’un côté, Aristide est un brave garçon.
—Oui! oui, pour ça, c’est un brave garçon.
—Mais sais-tu bien qu’il deviendra comme un muid? et dame! c’est bien désagréable d’avoir pour mari un homme dont tout le monde plaint la corpulence. Il est vrai, poursuivit-elle, que Just est un brave garçon.
—Oh! oui, pour ça, c’est un brave garçon.
—Bien, mais sais-tu qu’il demeurera toute sa vie maigre comme un échalas, et, ma foi, je t’avoue qu’il est bien triste de vivre tous les jours avec un homme qui a l’air de mourir de faim.
—De sorte que, reprit en souriant Claudine, le mieux serait d’épouser un mari qui ne fut ni trop gras ni trop maigre; mais alors il ne faut prendre ni Just ni Aristide.
—Ah! mais non! s’écria Marie; ces garçons t’aiment, il faut au moins que l’un des deux soit heureux.
—Chut! je me sauve, j’entends maman qui gronde.
—Ah! bien oui! disait la mère Turtaine d’une voix courroucée, les mains plantées sur les hanches, le ventre proéminent sous son tablier bleu; c’est bien la peine d’élever une jeunesse pour qu’elle écoute ainsi les ordres de sa mère! Elle n’a pas seulement balayé notre place, il n’y a pas moyen de s’y tenir tant il y a d’épluchures.
—Voyons, petite maman, ne me gronde pas, fit sa fille, en prenant un petit air câlin qui ne justifiait que trop l’amour des pauvres garçons pour elle; je ne bavarderai plus autant, je te le promets.
Elle prépara sa devanture et demeura songeuse. Elle se rappelait maintenant que les deux rivaux s’étaient battus, et que c’était pour cela que ni l’un ni l’autre n’avait balayé son petit réduit, ainsi qu’ils avaient coutume de le faire. Pourvu qu’ils ne se soient pas blessés, pensait-elle, et elle se sentait plus d’inclination pour celui qui aurait le plus souffert.
—Voyons, dit sa mère, je vais chercher notre café; que tout soit prêt quand je reviendrai, que je puisse déjeuner tranquillement.
—Est-il vrai, dit Claudine à la femme Truchart, sa voisine et tante, que l’on s’est battu ce matin ici?
—On me l’a dit; c’est deux mauvais sujets; on devrait pendre des batailleurs comme ça, ou les mettre dans l’armée, puisqu’ils aiment les coups.
Petite Claudine se tut et cessa la conversation. Un quart d’heure après, la maman arriva, tenant dans chaque main un grand bol plein d’une liqueur fumante et saumâtre.
-Ah! bien, j’en apprends de belles, cria-t-elle, il paraît que ces deux gredins de Just et d’Aristide se sont battus, ce matin, à cause de toi. Qu’ils s’avisent un peu de rôder autour de nous! c’est moi qui vais les recevoir! Et toi, si tu leur adresses la parole ou si tu réponds à leurs discours, tu auras affaire à moi. A-t-on jamais vu!
La pauvre fille avait le coeur gros et ne pouvait manger; soudain elle pâlit et renversa la moitié de son bol sur sa jupe: les deux adversaires venaient d’entrer dans le marché, l’un avec son oeil bleu, l’autre avec son nez tout escarbouillé. Ils se séparèrent à la porte et chacun s’en fut à sa boutique par une allée différente.
Toute la journée, elle les regardait alternativement, se disant: Le pauvre garçon, comme il doit souffrir avec son visage enflé! Ce nez turgide et sanglant la désespérait. Puis elle regardait l’autre. A-t-il l’oeil abîmé! murmurait-elle. Et cet oeil qui débordait d’un cercle de charbon lui faisait passer de petits frissons dans le dos. Faut-il qu’un homme soit brutal, pensait-elle, pour frapper ainsi un ami aux yeux. Elle se prenait à détester Aristide, puis elle voyait ce nez turgescent, et elle en venait à exécrer le gros Just. Elle y songea toute la nuit et ne put dormir. Que faire, pensait-elle, que faire ? Ce n’est pas de leur faute s’ils m’aiment. Je tâcherai de leur parler demain et je leur ferai promettre de ne plus se battre. Elle s’endormit sur cette heureuse idée et prépara, dans sa petite cervelle, de belles paroles pour les apaiser. Elle s’habilla, le matin, toute songeuse, aida sa mère à atteler le cheval et chemin faisant, de Montrouge au marché, elle repassa son petit discours. La difficulté était de leur parler sans être vue par sa mère. Elle s’ingéniait à trouver des prétextes pour s’échapper un instant de la boutique et parler à chacun d’eux sans être vue par l’autre. Enfin, le hasard me fournira peut-être une occasion et, sur cette pensée consolante, elle fouetta vivement le cheval qui prit le petit trot et fit sonner, dans les rues endormies, les semelles de fer qu’il avait aux pieds.
Les deux rivaux étaient à leur place et se jetaient des regards défiants. Elle eut l’air de ne point les voir, déchargea la voiture et se promit, vers neuf heures, alors que le marché serait rempli de monde, de s’échapper. En effet, vers cette heure, une affluence de femmes mal peignées, couvertes de châles effilochés, jetant un regard de joie sur leurs chiens qui folâtraient dans les ruisseaux, inonda les rues étroites qui enserrent le marché. Sous prétexte de chercher une botte de persil qu’elle avait égarée, Claudine se faufila dans la foule et s’en fut à la boutique de Just. Il pâlit à sa vue, rougit subitement et son oeil devint d’un noir plus foncé; sa boutique était encombrée de clientes, il leur répondait à peine, avait grande envie de les envoyer au diable et n’osait le faire, attendu que son patron était là et le surveillait du coin de l’oeil. «Just,» lui dit-elle enfin à voix basse, oubliant toutes les belles phrases qu’elle avait préparées, promettez-moi de ne plus vous battre.
—Mais, mademoiselle…
—Promettez-moi, ou je me fâche pour toujours avec vous.
—Je vous le promets, dit-il, tout rouge.
—Merci. Et elle se sauva en courant et rentra chez sa mère. Un quart d’heure après, elle parvint également à s’enfuir et s’en fut trouver Aristide qui la regarda d’un air effaré, vacilla sur ses jambes, balbutia quelques mots et fut obligé de s’asseoir, au grand ébahissement des acheteuses, qui crurent qu’il se trouvait mal et se mirent à crier. Elle n’eut que le temps de se sauver. «Mon Dieu! mon Dieu!» murmurait-elle, «quel malheur! Je n’ai pourtant rien fait pour qu’ils m’aiment comme cela, ces pauvres garçons!»
Vers midi, Just s’en vint rôder autour d’elle et lui glissa un petit mot qu’elle s’en fut ouvrir dans la rue: «Je ne puis vivre ainsi, disait-il, je vais vendre mon fonds et quitter le marché. «Ah!» s’écria-t-elle, «celui-ci m’aime le plus; si maman veut, je l’épouse.» Un quart d’heure après, comme elle allait chercher du cerfeuil chez une amie, Aristide lui dit: «Mademoiselle Claudine, je vais m’en aller, je suis trop mal heureux.»
—Ah! mon Dieu! il m’aime autant que l’autre; c’est désespérant d’être aimée ainsi! Et, tout en disant cela, elle éprouvait, malgré elle, une certaine joie à se sentir ainsi adorée.
Elle revint plus perplexe encore. Que faire? Telle était la question qu’elle se posait sans cesse. En attendant, les jours passaient et les amoureux ne partaient pas. Le premier qui partira sera celui qui m’aimera le plus, pensait-elle; puis elle se reprenait et se disait tout bas: Non, celui qui me quittera le premier pourra vivre sans me voir, donc il m’aimera moins. En attendant, chacun restait à sa place, s’étant fait cette réflexion bien simple que partir c’était laisser le champ libre à son adversaire, qui ne partirait certainement pas. Donc, ils s’observaient et éprouvaient de furieuses tentations de se cribler la figure de nouvelles gourmades.
Malheureusement, cet amour insensé que les petits yeux et les bonnes joues de Claudine avaient allumé dans le coeur des pauvres garçons fut bientôt connu de tout le quartier. Le coiffeur d’en face, enchanté d’avoir une occasion de parler, en promenant ses mains graisseuses et son rasoir non moins graisseux sur la figure de ses clients, entra dans d’interminables discussions sur la beauté et la coquetterie de Claudine. Ces propos, grossissant à mesure qu’ils roulaient de bouche en bouche, ne devaient pas tarder à arriver aux oreilles de la mère Turtaine. Un marché, c’est une miniature de ville de province: on y passe son temps à médire de son prochain et à le piller autant que faire se peut, deux occupations agréables, si jamais il en fut. Les concierges du quartier, las de se plaindre de leurs locataires et de déplorer le sort qui les avait faits concierges, saisirent cette occasion d’interrompre leurs doléances et s’empressèrent de dire pis que pendre de la pauvre fille. Exaspérée par tous ces commérages et par toutes ces médisances, la mère Turtaine résolut de l’envoyer chez sa soeur, à Plaisir, dans le département de Seine-et-Oise.
Claudine partit le coeur gros en priant sa mère de la rappeler bientôt près d’elle. Les premiers jours lui semblèrent bien tristes et elle écrivit à sa mère une lettre dans laquelle elle la suppliait de lui permettre de revenir au marché. Bientôt cette lettre qu’elle désirait tant lui causa de terribles craintes. En quelques soirées son sort avait changé. Un soir qu’elle se promenait près de la tremblaie, elle fit rencontre d’un grand et beau garçon dont la mine éveillée et les allures puissantes lui plurent tout d’abord.
La première fois, il la regarda timidement et, sentant les yeux de la jeune fille fixés sur les siens, il baissa la tête, devint rouge du cou aux oreilles et ne put ouvrir la bouche; la seconde fois, il osa l’aborder, mais il balbutia comme un imbécile et devint plus rouge encore que la première fois; la troisième, il ouvrit la bouche, parvint à bredouiller quelques mots, à lui dire qu’il la connaissait, que son père était un grand ami de sa mère, et, depuis ce temps, ils étaient devenus les meilleurs amis du monde.
Le soir, ils s’échappaient, se rencontraient au bas de la côte et se promenaient le long d’un petit ruisseau. Claudine marchait tout doucement, les yeux fixés à terre, les mains dans les poches de son petit tablier, et elle se sentait oppressée de délicieuses épouvantes. Lui la regardait à la dérobée et se mourait d’envie d’embrasser une petite place rose sur laquelle bouffait, comme une touffe d’herbes folles, un petit bouquet de cheveux pâles; vingt fois il fut sur le point de se pencher et d’effleurer de ses lèvres cette rose moussue, puis, au moment où il se courbait et où sa bouche frôlait les cheveux, Claudine faisait un mouvement, et vite il reprenait son calme et marchait à côté d’elle, maudissant sa timidité, se jurant que la première fois il serait plus hardi. Un soir, ils marchaient tout au bord du ruisseau. La lune avait rejeté sa fourrure de nuées blanches et se mirait dans l’eau; on eût dit une faucille d’argent posée sur une bande de moire bleue. Notre amoureux s’approcha de Claudine, et, au moment ou il allait enfin lui embrasser le cou, il aperçut dans le ruisseau l’image de sa bien-aimée qui souriait de le voir si gauche. Cette fois, il perdit la tête et embrassa si fort la petite place rose, qu’elle en resta blanche pendant quelques secondes et devint subitement rouge.
Tandis que Claudine simulait une colère qu’elle était loin de ressentir, Just et Aristide, que leur commune détresse avait rapprochés, alternaient, en des strophes désolées, sur la bonne mine et les charmes de leur fugitive déité. Néanmoins, comme la plus cuisante douleur finit par se calmer, il arriva qu’un beau jour l’un et l’autre se marièrent. Encore qu’elle ne les aimât point, Claudine ne laissa pas que d’être un peu vexée lorsqu’elle apprit cette nouvelle. —Etre si vite oubliée! les hommes sont donc des monstres.
—Vois-tu, ma fille, lui dit sentencieusement la maman Turtaine qui était venue la rejoindre à Plaisir, plus un homme aime, moins longtemps il reste fidèle; retiens bien ça.
—Pourvu que mon amant ne m’aime pas autant que Just et Aristide! pensa Claudine, et elle lui défendit de l’aimer. «Si tu m’aimes beaucoup, je ne t’épouse pas,» dit-elle.
—Mais…
—C’est à prendre ou à laisser.
—J’accepte: il est donc bien entendu, Claudine, que je ne t’aime point, que je te déteste.
—Ah! mais non, je ne te demande pas de me détester, je veux seulement que tu ne m’aimes pas beaucoup tout d’abord.
—Et ensuite?…
—Ensuite, nous verrons.
Quinze jours après, le mariage eut lieu.
Ah! Claudine, la petite place rose est restée rouge depuis cette époque, et votre mari ne vous aime pas! mais quelle couleur arborera-t-elle, alors qu’il vous aimera et que vous lui permettrez de faire sonner sur elle le grelot des baisers?
kempis poetry magazine
More in: -Le Drageoir aux épices, Huysmans, J.-K.
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Joseph Conrad
(1857-1924)
The Idiots
We were driving along the road from Treguier to Kervanda. We passed at a
smart trot between the hedges topping an earth wall on each side of
the road; then at the foot of the steep ascent before Ploumar the horse
dropped into a walk, and the driver jumped down heavily from the box.
He flicked his whip and climbed the incline, stepping clumsily uphill
by the side of the carriage, one hand on the footboard, his eyes on the
ground. After a while he lifted his head, pointed up the road with the
end of the whip, and said–
“The idiot!”
The sun was shining violently upon the undulating surface of the land.
The rises were topped by clumps of meagre trees, with their branches
showing high on the sky as if they had been perched upon stilts. The
small fields, cut up by hedges and stone walls that zig-zagged over
the slopes, lay in rectangular patches of vivid greens and yellows,
resembling the unskilful daubs of a naive picture. And the landscape was
divided in two by the white streak of a road stretching in long loops
far away, like a river of dust crawling out of the hills on its way to
the sea.
“Here he is,” said the driver, again.
In the long grass bordering the road a face glided past the carriage
at the level of the wheels as we drove slowly by. The imbecile face was
red, and the bullet head with close-cropped hair seemed to lie alone,
its chin in the dust. The body was lost in the bushes growing thick
along the bottom of the deep ditch.
It was a boy’s face. He might have been sixteen, judging from the
size–perhaps less, perhaps more. Such creatures are forgotten by
time, and live untouched by years till death gathers them up into its
compassionate bosom; the faithful death that never forgets in the press
of work the most insignificant of its children.
“Ah! there’s another,” said the man, with a certain satisfaction in his
tone, as if he had caught sight of something expected.
There was another. That one stood nearly in the middle of the road in
the blaze of sunshine at the end of his own short shadow. And he stood
with hands pushed into the opposite sleeves of his long coat, his head
sunk between the shoulders, all hunched up in the flood of heat. From a
distance he had the aspect of one suffering from intense cold.
“Those are twins,” explained the driver.
The idiot shuffled two paces out of the way and looked at us over his
shoulder when we brushed past him. The glance was unseeing and staring,
a fascinated glance; but he did not turn to look after us. Probably the
image passed before the eyes without leaving any trace on the misshapen
brain of the creature. When we had topped the ascent I looked over the
hood. He stood in the road just where we had left him.
The driver clambered into his seat, clicked his tongue, and we went
downhill. The brake squeaked horribly from time to time. At the foot he
eased off the noisy mechanism and said, turning half round on his box–
“We shall see some more of them by-and-by.”
“More idiots? How many of them are there, then?” I asked.
“There’s four of them–children of a farmer near Ploumar here. . . . The
parents are dead now,” he added, after a while. “The grandmother lives
on the farm. In the daytime they knock about on this road, and they come
home at dusk along with the cattle. . . . It’s a good farm.”
We saw the other two: a boy and a girl, as the driver said. They were
dressed exactly alike, in shapeless garments with petticoat-like skirts.
The imperfect thing that lived within them moved those beings to howl
at us from the top of the bank, where they sprawled amongst the tough
stalks of furze. Their cropped black heads stuck out from the bright
yellow wall of countless small blossoms. The faces were purple with
the strain of yelling; the voices sounded blank and cracked like a
mechanical imitation of old people’s voices; and suddenly ceased when we
turned into a lane.
I saw them many times in my wandering about the country. They lived on
that road, drifting along its length here and there, according to the
inexplicable impulses of their monstrous darkness. They were an
offence to the sunshine, a reproach to empty heaven, a blight on the
concentrated and purposeful vigour of the wild landscape. In time the
story of their parents shaped itself before me out of the listless
answers to my questions, out of the indifferent words heard in wayside
inns or on the very road those idiots haunted. Some of it was told by
an emaciated and sceptical old fellow with a tremendous whip, while we
trudged together over the sands by the side of a two-wheeled cart loaded
with dripping seaweed. Then at other times other people confirmed and
completed the story: till it stood at last before me, a tale formidable
and simple, as they always are, those disclosures of obscure trials
endured by ignorant hearts.
When he returned from his military service Jean-Pierre Bacadou found the
old people very much aged. He remarked with pain that the work of the
farm was not satisfactorily done. The father had not the energy of
old days. The hands did not feel over them the eye of the master.
Jean-Pierre noted with sorrow that the heap of manure in the courtyard
before the only entrance to the house was not so large as it should
have been. The fences were out of repair, and the cattle suffered from
neglect. At home the mother was practically bedridden, and the girls
chattered loudly in the big kitchen, unrebuked, from morning to night.
He said to himself: “We must change all this.” He talked the matter over
with his father one evening when the rays of the setting sun entering
the yard between the outhouses ruled the heavy shadows with luminous
streaks. Over the manure heap floated a mist, opal-tinted and odorous,
and the marauding hens would stop in their scratching to examine with
a sudden glance of their round eye the two men, both lean and tall,
talking in hoarse tones. The old man, all twisted with rheumatism and
bowed with years of work, the younger bony and straight, spoke without
gestures in the indifferent manner of peasants, grave and slow.
But before the sun had set the father had submitted to the sensible
arguments of the son. “It is not for me that I am speaking,” insisted
Jean-Pierre. “It is for the land. It’s a pity to see it badly used. I am
not impatient for myself.” The old fellow nodded over his stick. “I dare
say; I dare say,” he muttered. “You may be right. Do what you like. It’s
the mother that will be pleased.”
The mother was pleased with her daughter-in-law. Jean-Pierre brought
the two-wheeled spring-cart with a rush into the yard. The gray horse
galloped clumsily, and the bride and bridegroom, sitting side by side,
were jerked backwards and forwards by the up and down motion of the
shafts, in a manner regular and brusque. On the road the distanced
wedding guests straggled in pairs and groups. The men advanced with
heavy steps, swinging their idle arms. They were clad in town clothes;
jackets cut with clumsy smartness, hard black hats, immense boots,
polished highly. Their women all in simple black, with white caps and
shawls of faded tints folded triangularly on the back, strolled lightly
by their side. In front the violin sang a strident tune, and the biniou
snored and hummed, while the player capered solemnly, lifting high his
heavy clogs. The sombre procession drifted in and out of the narrow
lanes, through sunshine and through shade, between fields and hedgerows,
scaring the little birds that darted away in troops right and left. In
the yard of Bacadou’s farm the dark ribbon wound itself up into a mass
of men and women pushing at the door with cries and greetings. The
wedding dinner was remembered for months. It was a splendid feast in the
orchard. Farmers of considerable means and excellent repute were to be
found sleeping in ditches, all along the road to Treguier, even as late
as the afternoon of the next day. All the countryside participated in
the happiness of Jean-Pierre. He remained sober, and, together with his
quiet wife, kept out of the way, letting father and mother reap their
due of honour and thanks. But the next day he took hold strongly, and
the old folks felt a shadow–precursor of the grave–fall upon them
finally. The world is to the young.
When the twins were born there was plenty of room in the house, for the
mother of Jean-Pierre had gone away to dwell under a heavy stone in the
cemetery of Ploumar. On that day, for the first time since his son’s
marriage, the elder Bacadou, neglected by the cackling lot of strange
women who thronged the kitchen, left in the morning his seat under the
mantel of the fireplace, and went into the empty cow-house, shaking his
white locks dismally. Grandsons were all very well, but he wanted his
soup at midday. When shown the babies, he stared at them with a fixed
gaze, and muttered something like: “It’s too much.” Whether he meant too
much happiness, or simply commented upon the number of his descendants,
it is impossible to say. He looked offended–as far as his old wooden
face could express anything; and for days afterwards could be seen,
almost any time of the day, sitting at the gate, with his nose over his
knees, a pipe between his gums, and gathered up into a kind of raging
concentrated sulkiness. Once he spoke to his son, alluding to the
newcomers with a groan: “They will quarrel over the land.” “Don’t bother
about that, father,” answered Jean-Pierre, stolidly, and passed, bent
double, towing a recalcitrant cow over his shoulder.
He was happy, and so was Susan, his wife. It was not an ethereal joy
welcoming new souls to struggle, perchance to victory. In fourteen years
both boys would be a help; and, later on, Jean-Pierre pictured two big
sons striding over the land from patch to patch, wringing tribute from
the earth beloved and fruitful. Susan was happy too, for she did not
want to be spoken of as the unfortunate woman, and now she had children
no one could call her that. Both herself and her husband had seen
something of the larger world–he during the time of his service; while
she had spent a year or so in Paris with a Breton family; but had been
too home-sick to remain longer away from the hilly and green country,
set in a barren circle of rocks and sands, where she had been born.
She thought that one of the boys ought perhaps to be a priest, but said
nothing to her husband, who was a republican, and hated the “crows,”
as he called the ministers of religion. The christening was a splendid
affair. All the commune came to it, for the Bacadous were rich
and influential, and, now and then, did not mind the expense. The
grandfather had a new coat.
Some months afterwards, one evening when the kitchen had been swept,
and the door locked, Jean-Pierre, looking at the cot, asked his wife:
“What’s the matter with those children?” And, as if these words, spoken
calmly, had been the portent of misfortune, she answered with a loud
wail that must have been heard across the yard in the pig-sty; for
the pigs (the Bacadous had the finest pigs in the country) stirred and
grunted complainingly in the night. The husband went on grinding his
bread and butter slowly, gazing at the wall, the soup-plate smoking
under his chin. He had returned late from the market, where he had
overheard (not for the first time) whispers behind his back. He revolved
the words in his mind as he drove back. “Simple! Both of them. . . .
Never any use! . . . Well! May be, may be. One must see. Would ask his
wife.” This was her answer. He felt like a blow on his chest, but said
only: “Go, draw me some cider. I am thirsty!”
She went out moaning, an empty jug in her hand. Then he arose, took up
the light, and moved slowly towards the cradle. They slept. He looked at
them sideways, finished his mouthful there, went back heavily, and sat
down before his plate. When his wife returned he never looked up,
but swallowed a couple of spoonfuls noisily, and remarked, in a dull
manner–
“When they sleep they are like other people’s children.”
She sat down suddenly on a stool near by, and shook with a silent
tempest of sobs, unable to speak. He finished his meal, and remained
idly thrown back in his chair, his eyes lost amongst the black rafters
of the ceiling. Before him the tallow candle flared red and straight,
sending up a slender thread of smoke. The light lay on the rough,
sunburnt skin of his throat; the sunk cheeks were like patches of
darkness, and his aspect was mournfully stolid, as if he had ruminated
with difficulty endless ideas. Then he said, deliberately–
“We must see . . . consult people. Don’t cry. . . . They won’t all be
like that . . . surely! We must sleep now.”
After the third child, also a boy, was born, Jean-Pierre went about his
work with tense hopefulness. His lips seemed more narrow, more tightly
compressed than before; as if for fear of letting the earth he tilled
hear the voice of hope that murmured within his breast. He watched the
child, stepping up to the cot with a heavy clang of sabots on the stone
floor, and glanced in, along his shoulder, with that indifference which
is like a deformity of peasant humanity. Like the earth they master and
serve, those men, slow of eye and speech, do not show the inner fire; so
that, at last, it becomes a question with them as with the earth,
what there is in the core: heat, violence, a force mysterious and
terrible–or nothing but a clod, a mass fertile and inert, cold and
unfeeling, ready to bear a crop of plants that sustain life or give
death.
The mother watched with other eyes; listened with otherwise expectant
ears. Under the high hanging shelves supporting great sides of bacon
overhead, her body was busy by the great fireplace, attentive to the pot
swinging on iron gallows, scrubbing the long table where the field hands
would sit down directly to their evening meal. Her mind remained by the
cradle, night and day on the watch, to hope and suffer. That child, like
the other two, never smiled, never stretched its hands to her, never
spoke; never had a glance of recognition for her in its big black eyes,
which could only stare fixedly at any glitter, but failed hopelessly to
follow the brilliance of a sun-ray slipping slowly along the floor.
When the men were at work she spent long days between her three idiot
children and the childish grandfather, who sat grim, angular, and
immovable, with his feet near the warm ashes of the fire. The feeble
old fellow seemed to suspect that there was something wrong with his
grandsons. Only once, moved either by affection or by the sense of
proprieties, he attempted to nurse the youngest. He took the boy up from
the floor, clicked his tongue at him, and essayed a shaky gallop of his
bony knees. Then he looked closely with his misty eyes at the child’s
face and deposited him down gently on the floor again. And he sat, his
lean shanks crossed, nodding at the steam escaping from the cooking-pot
with a gaze senile and worried.
Then mute affliction dwelt in Bacadou’s farmhouse, sharing the breath
and the bread of its inhabitants; and the priest of the Ploumar parish
had great cause for congratulation. He called upon the rich landowner,
the Marquis de Chavanes, on purpose to deliver himself with joyful
unction of solemn platitudes about the inscrutable ways of Providence.
In the vast dimness of the curtained drawing-room, the little man,
resembling a black bolster, leaned towards a couch, his hat on
his knees, and gesticulated with a fat hand at the elongated,
gracefully-flowing lines of the clear Parisian toilette from which the
half-amused, half-bored marquise listened with gracious languor. He was
exulting and humble, proud and awed. The impossible had come to pass.
Jean-Pierre Bacadou, the enraged republican farmer, had been to mass
last Sunday–had proposed to entertain the visiting priests at the next
festival of Ploumar! It was a triumph for the Church and for the good
cause. “I thought I would come at once to tell Monsieur le Marquis. I
know how anxious he is for the welfare of our country,” declared the
priest, wiping his face. He was asked to stay to dinner.
The Chavanes returning that evening, after seeing their guest to the
main gate of the park, discussed the matter while they strolled in
the moonlight, trailing their long shadows up the straight avenue of
chestnuts. The marquise, a royalist of course, had been mayor of the
commune which includes Ploumar, the scattered hamlets of the coast, and
the stony islands that fringe the yellow flatness of the sands. He had
felt his position insecure, for there was a strong republican element in
that part of the country; but now the conversion of Jean-Pierre made
him safe. He was very pleased. “You have no idea how influential
those people are,” he explained to his wife. “Now, I am sure, the next
communal election will go all right. I shall be re-elected.” “Your
ambition is perfectly insatiable, Charles,” exclaimed the marquise,
gaily. “But, ma chere amie,” argued the husband, seriously, “it’s most
important that the right man should be mayor this year, because of the
elections to the Chamber. If you think it amuses me . . .”
Jean-Pierre had surrendered to his wife’s mother. Madame Levaille was
a woman of business, known and respected within a radius of at least
fifteen miles. Thick-set and stout, she was seen about the country, on
foot or in an acquaintance’s cart, perpetually moving, in spite of her
fifty-eight years, in steady pursuit of business. She had houses in all
the hamlets, she worked quarries of granite, she freighted coasters
with stone–even traded with the Channel Islands. She was broad-cheeked,
wide-eyed, persuasive in speech: carrying her point with the placid and
invincible obstinacy of an old woman who knows her own mind. She very
seldom slept for two nights together in the same house; and the wayside
inns were the best places to inquire in as to her whereabouts. She had
either passed, or was expected to pass there at six; or somebody, coming
in, had seen her in the morning, or expected to meet her that evening.
After the inns that command the roads, the churches were the buildings
she frequented most. Men of liberal opinions would induce small children
to run into sacred edifices to see whether Madame Levaille was there,
and to tell her that so-and-so was in the road waiting to speak to her
about potatoes, or flour, or stones, or houses; and she would curtail
her devotions, come out blinking and crossing herself into the sunshine;
ready to discuss business matters in a calm, sensible way across a table
in the kitchen of the inn opposite. Latterly she had stayed for a few
days several times with her son-in-law, arguing against sorrow and
misfortune with composed face and gentle tones. Jean-Pierre felt the
convictions imbibed in the regiment torn out of his breast–not by
arguments but by facts. Striding over his fields he thought it over.
There were three of them. Three! All alike! Why? Such things did not
happen to everybody–to nobody he ever heard of. One–might pass. But
three! All three. Forever useless, to be fed while he lived and . . .
What would become of the land when he died? This must be seen to. He
would sacrifice his convictions. One day he told his wife–
“See what your God will do for us. Pay for some masses.”
Susan embraced her man. He stood unbending, then turned on his heels and
went out. But afterwards, when a black soutane darkened his doorway,
he did not object; even offered some cider himself to the priest.
He listened to the talk meekly; went to mass between the two women;
accomplished what the priest called “his religious duties” at Easter.
That morning he felt like a man who had sold his soul. In the afternoon
he fought ferociously with an old friend and neighbour who had remarked
that the priests had the best of it and were now going to eat the
priest-eater. He came home dishevelled and bleeding, and happening to
catch sight of his children (they were kept generally out of the way),
cursed and swore incoherently, banging the table. Susan wept. Madame
Levaille sat serenely unmoved. She assured her daughter that “It will
pass;” and taking up her thick umbrella, departed in haste to see after
a schooner she was going to load with granite from her quarry.
A year or so afterwards the girl was born. A girl. Jean-Pierre heard of
it in the fields, and was so upset by the news that he sat down on the
boundary wall and remained there till the evening, instead of going home
as he was urged to do. A girl! He felt half cheated. However, when he
got home he was partly reconciled to his fate. One could marry her to
a good fellow–not to a good for nothing, but to a fellow with some
understanding and a good pair of arms. Besides, the next may be a boy,
he thought. Of course they would be all right. His new credulity knew
of no doubt. The ill luck was broken. He spoke cheerily to his wife.
She was also hopeful. Three priests came to that christening, and Madame
Levaille was godmother. The child turned out an idiot too.
Then on market days Jean-Pierre was seen bargaining bitterly,
quarrelsome and greedy; then getting drunk with taciturn earnestness;
then driving home in the dusk at a rate fit for a wedding, but with a
face gloomy enough for a funeral. Sometimes he would insist on his wife
coming with him; and they would drive in the early morning, shaking side
by side on the narrow seat above the helpless pig, that, with tied legs,
grunted a melancholy sigh at every rut. The morning drives were silent;
but in the evening, coming home, Jean-Pierre, tipsy, was viciously
muttering, and growled at the confounded woman who could not rear
children that were like anybody else’s. Susan, holding on against the
erratic swayings of the cart, pretended not to hear. Once, as they were
driving through Ploumar, some obscure and drunken impulse caused him to
pull up sharply opposite the church. The moon swam amongst light white
clouds. The tombstones gleamed pale under the fretted shadows of
the trees in the churchyard. Even the village dogs slept. Only the
nightingales, awake, spun out the thrill of their song above the silence
of graves. Jean-Pierre said thickly to his wife–
“What do you think is there?”
He pointed his whip at the tower–in which the big dial of the clock
appeared high in the moonlight like a pallid face without eyes–and
getting out carefully, fell down at once by the wheel. He picked
himself up and climbed one by one the few steps to the iron gate of the
churchyard. He put his face to the bars and called out indistinctly–
“Hey there! Come out!”
“Jean! Return! Return!” entreated his wife in low tones.
He took no notice, and seemed to wait there. The song of nightingales
beat on all sides against the high walls of the church, and flowed back
between stone crosses and flat gray slabs, engraved with words of hope
and sorrow.
“Hey! Come out!” shouted Jean-Pierre, loudly.
The nightingales ceased to sing.
“Nobody?” went on Jean-Pierre. “Nobody there. A swindle of the crows.
That’s what this is. Nobody anywhere. I despise it. _Allez! Houp!_”
He shook the gate with all his strength, and the iron bars rattled with
a frightful clanging, like a chain dragged over stone steps. A dog
near by barked hurriedly. Jean-Pierre staggered back, and after three
successive dashes got into his cart. Susan sat very quiet and still. He
said to her with drunken severity–
“See? Nobody. I’ve been made a fool! _Malheur!_ Somebody will pay for it.
The next one I see near the house I will lay my whip on . . . on the
black spine . . . I will. I don’t want him in there . . . he only helps
the carrion crows to rob poor folk. I am a man. . . . We will see if
I can’t have children like anybody else . . . now you mind. . . . They
won’t be all . . . all . . . we see. . . .”
She burst out through the fingers that hid her face–
“Don’t say that, Jean; don’t say that, my man!”
He struck her a swinging blow on the head with the back of his hand
and knocked her into the bottom of the cart, where she crouched,
thrown about lamentably by every jolt. He drove furiously, standing
up, brandishing his whip, shaking the reins over the gray horse that
galloped ponderously, making the heavy harness leap upon his broad
quarters. The country rang clamorous in the night with the irritated
barking of farm dogs, that followed the rattle of wheels all along the
road. A couple of belated wayfarers had only just time to step into the
ditch. At his own gate he caught the post and was shot out of the cart
head first. The horse went on slowly to the door. At Susan’s piercing
cries the farm hands rushed out. She thought him dead, but he was only
sleeping where he fell, and cursed his men, who hastened to him, for
disturbing his slumbers.
Autumn came. The clouded sky descended low upon the black contours
of the hills; and the dead leaves danced in spiral whirls under naked
trees, till the wind, sighing profoundly, laid them to rest in the
hollows of bare valleys. And from morning till night one could see all
over the land black denuded boughs, the boughs gnarled and twisted, as
if contorted with pain, swaying sadly between the wet clouds and
the soaked earth. The clear and gentle streams of summer days rushed
discoloured and raging at the stones that barred the way to the sea,
with the fury of madness bent upon suicide. From horizon to horizon the
great road to the sands lay between the hills in a dull glitter of empty
curves, resembling an unnavigable river of mud.
Jean-Pierre went from field to field, moving blurred and tall in the
drizzle, or striding on the crests of rises, lonely and high upon the
gray curtain of drifting clouds, as if he had been pacing along the very
edge of the universe. He looked at the black earth, at the earth
mute and promising, at the mysterious earth doing its work of life in
death-like stillness under the veiled sorrow of the sky. And it seemed
to him that to a man worse than childless there was no promise in
the fertility of fields, that from him the earth escaped, defied him,
frowned at him like the clouds, sombre and hurried above his head.
Having to face alone his own fields, he felt the inferiority of man who
passes away before the clod that remains. Must he give up the hope of
having by his side a son who would look at the turned-up sods with a
master’s eye? A man that would think as he thought, that would feel as
he felt; a man who would be part of himself, and yet remain to trample
masterfully on that earth when he was gone? He thought of some distant
relations, and felt savage enough to curse them aloud. They! Never! He
turned homewards, going straight at the roof of his dwelling, visible
between the enlaced skeletons of trees. As he swung his legs over the
stile a cawing flock of birds settled slowly on the field; dropped down
behind his back, noiseless and fluttering, like flakes of soot.
That day Madame Levaille had gone early in the afternoon to the house
she had near Kervanion. She had to pay some of the men who worked in her
granite quarry there, and she went in good time because her little house
contained a shop where the workmen could spend their wages without the
trouble of going to town. The house stood alone amongst rocks. A lane
of mud and stones ended at the door. The sea-winds coming ashore on
Stonecutter’s point, fresh from the fierce turmoil of the waves, howled
violently at the unmoved heaps of black boulders holding up steadily
short-armed, high crosses against the tremendous rush of the invisible.
In the sweep of gales the sheltered dwelling stood in a calm resonant
and disquieting, like the calm in the centre of a hurricane. On stormy
nights, when the tide was out, the bay of Fougere, fifty feet below the
house, resembled an immense black pit, from which ascended mutterings
and sighs as if the sands down there had been alive and complaining.
At high tide the returning water assaulted the ledges of rock in short
rushes, ending in bursts of livid light and columns of spray, that flew
inland, stinging to death the grass of pastures.
The darkness came from the hills, flowed over the coast, put out the red
fires of sunset, and went on to seaward pursuing the retiring tide. The
wind dropped with the sun, leaving a maddened sea and a devastated sky.
The heavens above the house seemed to be draped in black rags, held up
here and there by pins of fire. Madame Levaille, for this evening the
servant of her own workmen, tried to induce them to depart. “An old
woman like me ought to be in bed at this late hour,” she good-humouredly
repeated. The quarrymen drank, asked for more. They shouted over the
table as if they had been talking across a field. At one end four
of them played cards, banging the wood with their hard knuckles, and
swearing at every lead. One sat with a lost gaze, humming a bar of
some song, which he repeated endlessly. Two others, in a corner, were
quarrelling confidentially and fiercely over some woman, looking close
into one another’s eyes as if they had wanted to tear them out, but
speaking in whispers that promised violence and murder discreetly, in a
venomous sibillation of subdued words. The atmosphere in there was thick
enough to slice with a knife. Three candles burning about the long room
glowed red and dull like sparks expiring in ashes.
The slight click of the iron latch was at that late hour as unexpected
and startling as a thunder-clap. Madame Levaille put down a bottle
she held above a liqueur glass; the players turned their heads; the
whispered quarrel ceased; only the singer, after darting a glance at the
door, went on humming with a stolid face. Susan appeared in the doorway,
stepped in, flung the door to, and put her back against it, saying, half
aloud–
“Mother!”
Madame Levaille, taking up the bottle again, said calmly: “Here you are,
my girl. What a state you are in!” The neck of the bottle rang on the
rim of the glass, for the old woman was startled, and the idea that the
farm had caught fire had entered her head. She could think of no other
cause for her daughter’s appearance.
Susan, soaked and muddy, stared the whole length of the room towards the
men at the far end. Her mother asked–
“What has happened? God guard us from misfortune!”
Susan moved her lips. No sound came. Madame Levaille stepped up to her
daughter, took her by the arm, looked into her face.
“In God’s name,” she said, shakily, “what’s the matter? You have been
rolling in mud. . . . Why did you come? . . . Where’s Jean?”
The men had all got up and approached slowly, staring with dull
surprise. Madame Levaille jerked her daughter away from the door, swung
her round upon a seat close to the wall. Then she turned fiercely to the
men–
“Enough of this! Out you go–you others! I close.”
One of them observed, looking down at Susan collapsed on the seat: “She
is–one may say–half dead.”
Madame Levaille flung the door open.
“Get out! March!” she cried, shaking nervously.
They dropped out into the night, laughing stupidly. Outside, the two
Lotharios broke out into loud shouts. The others tried to soothe them,
all talking at once. The noise went away up the lane with the men,
who staggered together in a tight knot, remonstrating with one another
foolishly.
“Speak, Susan. What is it? Speak!” entreated Madame Levaille, as soon as
the door was shut.
Susan pronounced some incomprehensible words, glaring at the table. The
old woman clapped her hands above her head, let them drop, and stood
looking at her daughter with disconsolate eyes. Her husband had been
“deranged in his head” for a few years before he died, and now she began
to suspect her daughter was going mad. She asked, pressingly–
“Does Jean know where you are? Where is Jean?”
“He knows . . . he is dead.”
“What!” cried the old woman. She came up near, and peering at her
daughter, repeated three times: “What do you say? What do you say? What
do you say?”
Susan sat dry-eyed and stony before Madame Levaille, who contemplated
her, feeling a strange sense of inexplicable horror creep into the
silence of the house. She had hardly realised the news, further than to
understand that she had been brought in one short moment face to face
with something unexpected and final. It did not even occur to her to ask
for any explanation. She thought: accident–terrible accident–blood to
the head–fell down a trap door in the loft. . . . She remained there,
distracted and mute, blinking her old eyes.
Suddenly, Susan said–
“I have killed him.”
For a moment the mother stood still, almost unbreathing, but with
composed face. The next second she burst out into a shout–
“You miserable madwoman . . . they will cut your neck. . . .”
She fancied the gendarmes entering the house, saying to her: “We want
your daughter; give her up:” the gendarmes with the severe, hard faces
of men on duty. She knew the brigadier well–an old friend, familiar
and respectful, saying heartily, “To your good health, Madame!” before
lifting to his lips the small glass of cognac–out of the special bottle
she kept for friends. And now! . . . She was losing her head. She rushed
here and there, as if looking for something urgently needed–gave that
up, stood stock still in the middle of the room, and screamed at her
daughter–
“Why? Say! Say! Why?”
The other seemed to leap out of her strange apathy.
“Do you think I am made of stone?” she shouted back, striding towards
her mother.
“No! It’s impossible . . .” said Madame Levaille, in a convinced tone.
“You go and see, mother,” retorted Susan, looking at her with blazing
eyes. “There’s no money in heaven–no justice. No! . . . I did not know.
. . . Do you think I have no heart? Do you think I have never heard
people jeering at me, pitying me, wondering at me? Do you know how some
of them were calling me? The mother of idiots–that was my nickname!
And my children never would know me, never speak to me. They would know
nothing; neither men–nor God. Haven’t I prayed! But the Mother of God
herself would not hear me. A mother! . . . Who is accursed–I, or the
man who is dead? Eh? Tell me. I took care of myself. Do you think I
would defy the anger of God and have my house full of those things–that
are worse than animals who know the hand that feeds them? Who blasphemed
in the night at the very church door? Was it I? . . . I only wept and
prayed for mercy . . . and I feel the curse at every moment of the
day–I see it round me from morning to night . . . I’ve got to keep them
alive–to take care of my misfortune and shame. And he would come. I
begged him and Heaven for mercy. . . . No! . . . Then we shall see. . . .
He came this evening. I thought to myself: ‘Ah! again!’ . . . I had
my long scissors. I heard him shouting . . . I saw him near. . . . I
must–must I? . . . Then take! . . . And I struck him in the throat
above the breastbone. . . . I never heard him even sigh. . . . I left
him standing. . . . It was a minute ago. How did I come here?”
Madame Levaille shivered. A wave of cold ran down her back, down her
fat arms under her tight sleeves, made her stamp gently where she stood.
Quivers ran over the broad cheeks, across the thin lips, ran amongst the
wrinkles at the corners of her steady old eyes. She stammered–
“You wicked woman–you disgrace me. But there! You always resembled your
father. What do you think will become of you . . . in the other world?
In this . . . Oh misery!”
She was very hot now. She felt burning inside. She wrung her perspiring
hands–and suddenly, starting in great haste, began to look for her big
shawl and umbrella, feverishly, never once glancing at her daughter, who
stood in the middle of the room following her with a gaze distracted and
cold.
“Nothing worse than in this,” said Susan.
Her mother, umbrella in hand and trailing the shawl over the floor,
groaned profoundly.
“I must go to the priest,” she burst out passionately. “I do not know
whether you even speak the truth! You are a horrible woman. They will
find you anywhere. You may stay here–or go. There is no room for you in
this world.”
Ready now to depart, she yet wandered aimlessly about the room, putting
the bottles on the shelf, trying to fit with trembling hands the covers
on cardboard boxes. Whenever the real sense of what she had heard
emerged for a second from the haze of her thoughts she would fancy that
something had exploded in her brain without, unfortunately, bursting her
head to pieces–which would have been a relief. She blew the candles
out one by one without knowing it, and was horribly startled by the
darkness. She fell on a bench and began to whimper. After a while she
ceased, and sat listening to the breathing of her daughter, whom she
could hardly see, still and upright, giving no other sign of life. She
was becoming old rapidly at last, during those minutes. She spoke in
tones unsteady, cut about by the rattle of teeth, like one shaken by a
deadly cold fit of ague.
“I wish you had died little. I will never dare to show my old head in
the sunshine again. There are worse misfortunes than idiot children. I
wish you had been born to me simple–like your own. . . .”
She saw the figure of her daughter pass before the faint and livid
clearness of a window. Then it appeared in the doorway for a second, and
the door swung to with a clang. Madame Levaille, as if awakened by the
noise from a long nightmare, rushed out.
“Susan!” she shouted from the doorstep.
She heard a stone roll a long time down the declivity of the rocky beach
above the sands. She stepped forward cautiously, one hand on the wall
of the house, and peered down into the smooth darkness of the empty bay.
Once again she cried–
“Susan! You will kill yourself there.”
The stone had taken its last leap in the dark, and she heard nothing
now. A sudden thought seemed to strangle her, and she called no more.
She turned her back upon the black silence of the pit and went up the
lane towards Ploumar, stumbling along with sombre determination, as if
she had started on a desperate journey that would last, perhaps, to the
end of her life. A sullen and periodic clamour of waves rolling over
reefs followed her far inland between the high hedges sheltering the
gloomy solitude of the fields.
Susan had run out, swerving sharp to the left at the door, and on the
edge of the slope crouched down behind a boulder. A dislodged stone went
on downwards, rattling as it leaped. When Madame Levaille called out,
Susan could have, by stretching her hand, touched her mother’s skirt,
had she had the courage to move a limb. She saw the old woman go away,
and she remained still, closing her eyes and pressing her side to the
hard and rugged surface of the rock. After a while a familiar face with
fixed eyes and an open mouth became visible in the intense obscurity
amongst the boulders. She uttered a low cry and stood up. The face
vanished, leaving her to gasp and shiver alone in the wilderness of
stone heaps. But as soon as she had crouched down again to rest, with
her head against the rock, the face returned, came very near, appeared
eager to finish the speech that had been cut short by death, only a
moment ago. She scrambled quickly to her feet and said: “Go away, or I
will do it again.” The thing wavered, swung to the right, to the left.
She moved this way and that, stepped back, fancied herself screaming
at it, and was appalled by the unbroken stillness of the night. She
tottered on the brink, felt the steep declivity under her feet, and
rushed down blindly to save herself from a headlong fall. The shingle
seemed to wake up; the pebbles began to roll before her, pursued her
from above, raced down with her on both sides, rolling past with an
increasing clatter. In the peace of the night the noise grew, deepening
to a rumour, continuous and violent, as if the whole semicircle of the
stony beach had started to tumble down into the bay. Susan’s feet hardly
touched the slope that seemed to run down with her. At the bottom she
stumbled, shot forward, throwing her arms out, and fell heavily. She
jumped up at once and turned swiftly to look back, her clenched hands
full of sand she had clutched in her fall. The face was there, keeping
its distance, visible in its own sheen that made a pale stain in the
night. She shouted, “Go away!”–she shouted at it with pain, with fear,
with all the rage of that useless stab that could not keep him quiet,
keep him out of her sight. What did he want now? He was dead. Dead
men have no children. Would he never leave her alone? She shrieked
at it–waved her outstretched hands. She seemed to feel the breath of
parted lips, and, with a long cry of discouragement, fled across the
level bottom of the bay.
She ran lightly, unaware of any effort of her body. High sharp rocks
that, when the bay is full, show above the glittering plain of blue
water like pointed towers of submerged churches, glided past her,
rushing to the land at a tremendous pace. To the left, in the distance,
she could see something shining: a broad disc of light in which narrow
shadows pivoted round the centre like the spokes of a wheel. She heard
a voice calling, “Hey! There!” and answered with a wild scream. So, he
could call yet! He was calling after her to stop. Never! . . . She tore
through the night, past the startled group of seaweed-gatherers who
stood round their lantern paralysed with fear at the unearthly screech
coming from that fleeing shadow. The men leaned on their pitchforks
staring fearfully. A woman fell on her knees, and, crossing herself,
began to pray aloud. A little girl with her ragged skirt full of slimy
seaweed began to sob despairingly, lugging her soaked burden close to
the man who carried the light. Somebody said: “The thing ran out towards
the sea.” Another voice exclaimed: “And the sea is coming back! Look at
the spreading puddles. Do you hear–you woman–there! Get up!” Several
voices cried together. “Yes, let us be off! Let the accursed thing go to
the sea!” They moved on, keeping close round the light. Suddenly a man
swore loudly. He would go and see what was the matter. It had been a
woman’s voice. He would go. There were shrill protests from women–but
his high form detached itself from the group and went off running. They
sent an unanimous call of scared voices after him. A word, insulting and
mocking, came back, thrown at them through the darkness. A woman moaned.
An old man said gravely: “Such things ought to be left alone.” They went
on slower, shuffling in the yielding sand and whispering to one another
that Millot feared nothing, having no religion, but that it would end
badly some day.
Susan met the incoming tide by the Raven islet and stopped, panting,
with her feet in the water. She heard the murmur and felt the cold
caress of the sea, and, calmer now, could see the sombre and confused
mass of the Raven on one side and on the other the long white streak of
Molene sands that are left high above the dry bottom of Fougere Bay
at every ebb. She turned round and saw far away, along the starred
background of the sky, the ragged outline of the coast. Above it, nearly
facing her, appeared the tower of Ploumar Church; a slender and tall
pyramid shooting up dark and pointed into the clustered glitter of the
stars. She felt strangely calm. She knew where she was, and began
to remember how she came there–and why. She peered into the smooth
obscurity near her. She was alone. There was nothing there; nothing near
her, either living or dead.
The tide was creeping in quietly, putting out long impatient arms of
strange rivulets that ran towards the land between ridges of sand. Under
the night the pools grew bigger with mysterious rapidity, while
the great sea, yet far off, thundered in a regular rhythm along the
indistinct line of the horizon. Susan splashed her way back for a
few yards without being able to get clear of the water that murmured
tenderly all around and, suddenly, with a spiteful gurgle, nearly took
her off her feet. Her heart thumped with fear. This place was too big
and too empty to die in. To-morrow they would do with her what they
liked. But before she died she must tell them–tell the gentlemen in
black clothes that there are things no woman can bear. She must explain
how it happened. . . . She splashed through a pool, getting wet to the
waist, too preoccupied to care. . . . She must explain. “He came in the
same way as ever and said, just so: ‘Do you think I am going to leave
the land to those people from Morbihan that I do not know? Do you? We
shall see! Come along, you creature of mischance!’ And he put his arms
out. Then, Messieurs, I said: ‘Before God–never!’ And he said, striding
at me with open palms: ‘There is no God to hold me! Do you understand,
you useless carcase. I will do what I like.’ And he took me by the
shoulders. Then I, Messieurs, called to God for help, and next minute,
while he was shaking me, I felt my long scissors in my hand. His shirt
was unbuttoned, and, by the candle-light, I saw the hollow of his
throat. I cried: ‘Let go!’ He was crushing my shoulders. He was strong,
my man was! Then I thought: No! . . . Must I? . . . Then take!–and I
struck in the hollow place. I never saw him fall. . . . The old father
never turned his head. He is deaf and childish, gentlemen. . . . Nobody
saw him fall. I ran out . . . Nobody saw. . . .”
She had been scrambling amongst the boulders of the Raven and now found
herself, all out of breath, standing amongst the heavy shadows of the
rocky islet. The Raven is connected with the main land by a natural pier
of immense and slippery stones. She intended to return home that way.
Was he still standing there? At home. Home! Four idiots and a corpse.
She must go back and explain. Anybody would understand. . . .
Below her the night or the sea seemed to pronounce distinctly–
“Aha! I see you at last!”
She started, slipped, fell; and without attempting to rise, listened,
terrified. She heard heavy breathing, a clatter of wooden clogs. It
stopped.
“Where the devil did you pass?” said an invisible man, hoarsely.
She held her breath. She recognized the voice. She had not seen him
fall. Was he pursuing her there dead, or perhaps . . . alive?
She lost her head. She cried from the crevice where she lay huddled,
“Never, never!”
“Ah! You are still there. You led me a fine dance. Wait, my beauty, I
must see how you look after all this. You wait. . . .”
Millot was stumbling, laughing, swearing meaninglessly out of
pure satisfaction, pleased with himself for having run down that
fly-by-night. “As if there were such things as ghosts! Bah! It took an
old African soldier to show those clodhoppers. . . . But it was curious.
Who the devil was she?”
Susan listened, crouching. He was coming for her, this dead man. There
was no escape. What a noise he made amongst the stones. . . . She saw
his head rise up, then the shoulders. He was tall–her own man! His long
arms waved about, and it was his own voice sounding a little strange
. . . because of the scissors. She scrambled out quickly, rushed to the
edge of the causeway, and turned round. The man stood still on a high
stone, detaching himself in dead black on the glitter of the sky.
“Where are you going to?” he called, roughly.
She answered, “Home!” and watched him intensely. He made a striding,
clumsy leap on to another boulder, and stopped again, balancing himself,
then said–
“Ha! ha! Well, I am going with you. It’s the least I can do. Ha! ha!
ha!”
She stared at him till her eyes seemed to become glowing coals that
burned deep into her brain, and yet she was in mortal fear of making
out the well-known features. Below her the sea lapped softly against the
rock with a splash continuous and gentle.
The man said, advancing another step–
“I am coming for you. What do you think?”
She trembled. Coming for her! There was no escape, no peace, no hope.
She looked round despairingly. Suddenly the whole shadowy coast, the
blurred islets, the heaven itself, swayed about twice, then came to a
rest. She closed her eyes and shouted–
“Can’t you wait till I am dead!”
She was shaken by a furious hate for that shade that pursued her in this
world, unappeased even by death in its longing for an heir that would be
like other people’s children.
“Hey! What?” said Millot, keeping his distance prudently. He was saying
to himself: “Look out! Some lunatic. An accident happens soon.”
She went on, wildly–
“I want to live. To live alone–for a week–for a day. I must explain
to them. . . . I would tear you to pieces, I would kill you twenty times
over rather than let you touch me while I live. How many times must I
kill you–you blasphemer! Satan sends you here. I am damned too!”
“Come,” said Millot, alarmed and conciliating. “I am perfectly alive!
. . . Oh, my God!”
She had screamed, “Alive!” and at once vanished before his eyes, as if
the islet itself had swerved aside from under her feet. Millot rushed
forward, and fell flat with his chin over the edge. Far below he saw the
water whitened by her struggles, and heard one shrill cry for help that
seemed to dart upwards along the perpendicular face of the rock, and
soar past, straight into the high and impassive heaven.
Madame Levaille sat, dry-eyed, on the short grass of the hill side, with
her thick legs stretched out, and her old feet turned up in their black
cloth shoes. Her clogs stood near by, and further off the umbrella
lay on the withered sward like a weapon dropped from the grasp of a
vanquished warrior. The Marquis of Chavanes, on horseback, one gloved
hand on thigh, looked down at her as she got up laboriously, with
groans. On the narrow track of the seaweed-carts four men were carrying
inland Susan’s body on a hand-barrow, while several others straggled
listlessly behind. Madame Levaille looked after the procession. “Yes,
Monsieur le Marquis,” she said dispassionately, in her usual calm tone
of a reasonable old woman. “There are unfortunate people on this earth.
I had only one child. Only one! And they won’t bury her in consecrated
ground!”
Her eyes filled suddenly, and a short shower of tears rolled down the
broad cheeks. She pulled the shawl close about her. The Marquis leaned
slightly over in his saddle, and said–
“It is very sad. You have all my sympathy. I shall speak to the Cure.
She was unquestionably insane, and the fall was accidental. Millot says
so distinctly. Good-day, Madame.”
And he trotted off, thinking to himself: “I must get this old woman
appointed guardian of those idiots, and administrator of the farm.
It would be much better than having here one of those other Bacadous,
probably a red republican, corrupting my commune.”
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Joseph Conrad: The Idiots
fleursdumal.nl magazine
More in: Archive C-D, Conrad, Joseph, Joseph Conrad
J a n e A u s t e n
(1775 – 1817)
When Stretch’d on One’s Bed
When stretch’d on one’s bed
With a fierce-throbbing head,
Which preculdes alike thought or repose,
How little one cares
For the grandest affairs
That may busy the world as it goes!
How little one feels
For the waltzes and reels
Of our Dance-loving friends at a Ball!
How slight one’s concern
To conjecture or learn
What their flounces or hearts may befall.
How little one minds
If a company dines
On the best that the Season affords!
How short is one’s muse
O’er the Sauces and Stews,
Or the Guests, be they Beggars or Lords.
How little the Bells,
Ring they Peels, toll they Knells,
Can attract our attention or Ears!
The Bride may be married,
The Corse may be carried
And touch nor our hopes nor our fears.
Our own bodily pains
Ev’ry faculty chains;
We can feel on no subject besides.
Tis in health and in ease
We the power must seize
For our friends and our souls to provide.
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k e m p i s p o e t r y m a g a z i n e
More in: Austen, Jane, Austen, Jane
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Virginia Woolf
(1882-1941)
“I Am Christina Rossetti”
On the fifth of this December [1930] Christina Rossetti will celebrate her centenary, or, more properly speaking, we shall celebrate it for her, and perhaps not a little to her distress, for she was one of the shyest of women, and to be spoken of, as we shall certainly speak of her, would have caused her acute discomfort. Nevertheless, it is inevitable; centenaries are inexorable; talk of her we must. We shall read her life; we shall read her letters; we shall study her portraits, speculate about her diseases — of which she had a great variety; and rattle the drawers of her writing-table, which are for the most part empty. Let us begin with the biography — for what could be more amusing? As everybody knows, the fascination of reading biographies is irresistible. No sooner have we opened the pages of Miss Sandars’s careful and competent book (Life of Christina Rossetti, by Mary F. Sandars. (Hutchinson)) than the old illusion comes over us. Here is the past and all its inhabitants miraculously sealed as in a magic tank; all we have to do is to look and to listen and to listen and to look and soon the little figures — for they are rather under life size — will begin to move and to speak, and as they move we shall arrange them in all sorts of patterns of which they were ignorant, for they thought when they were alive that they could go where they liked; and as they speak we shall read into their sayings all kinds of meanings which never struck them, for they believed when they were alive that they said straight off whatever came into their heads. But once you are in a biography all is different.
Here, then, is Hallam Street, Portland Place, about the year 1830; and here are the Rossettis, an Italian family consisting of father and mother and four small children. The street was unfashionable and the home rather poverty-stricken; but the poverty did not matter, for, being foreigners, the Rossettis did not care much about the customs and conventions of the usual middle-class British family. They kept themselves to themselves, dressed as they liked, entertained Italian exiles, among them organ-grinders and other distressed compatriots, and made ends meet by teaching and writing and other odd jobs. By degrees Christina detached herself from the family group. It is plain that she was a quiet and observant child, with her own way of life already fixed in her head — she was to write — but all the more did she admire the superior competence of her elders. Soon we begin to surround her with a few friends and to endow her with a few characteristics. She detested parties. She dressed anyhow. She liked her brother’s friends and little gatherings of young artists and poets who were to reform the world, rather to her amusement, for although so sedate, she was also whimsical and freakish, and liked making fun of people who took themselves with egotistic solemnity. And though she meant to be a poet she had very little of the vanity and stress of young poets; her verses seem to have formed themselves whole and entire in her head, and she did not worry very much what was said of them because in her own mind she knew that they were good. She had also immense powers of admiration — for her mother, for example, who was so quiet, and so sagacious, so simple and so sincere; and for her elder sister Maria, who had no taste for painting or for poetry, but was, for that very reason, perhaps more vigorous and effective in daily life. For example, Maria always refused to visit the Mummy Room at the British Museum because, she said, the Day of Resurrection might suddenly dawn and it would be very unseemly if the corpses had to put on immortality under the gaze of mere sight-seers — a reflection which had not struck Christina, but seemed to her admirable. Here, of course, we, who are outside the tank, enjoy a hearty laugh, but Christina, who is inside the tank and exposed to all its heats and currents, thought her sister’s conduct worthy of the highest respect. Indeed, if we look at her a little more closely we shall see that something dark and hard, like a kernel, had already formed in the centre of Christina Rossetti’s being.
It was religion, of course. Even when she was quite a girl her lifelong absorption in the relation of the soul with God had taken possession of her. Her sixty-four years might seem outwardly spent in Hallam Street and Endsleigh Gardens and Torrington Square, but in reality she dwelt in some curious region where the spirit strives towards an unseen God — in her case, a dark God, a harsh God — a God who decreed that all the pleasures of the world were hateful to Him. The theatre was hateful, the opera was hateful, nakedness was hateful — when her friend Miss Thompson painted naked figures in her pictures she had to tell Christina that they were fairies, but Christina saw through the imposture — everything in Christina’s life radiated from that knot of agony and intensity in the centre. Her belief regulated her life in the smallest particulars. It taught her that chess was wrong, but that whist and cribbage did not matter. But also it interfered in the most tremendous questions of her heart. There was a young painter called James Collinson, and she loved James Collinson and he loved her, but he was a Roman Catholic and so she refused him. Obligingly he became a member of the Church of England, and she accepted him. Vacillating, however, for he was a slippery man, he wobbled back to Rome, and Christina, though it broke her heart and for ever shadowed her life, cancelled the engagement. Years afterwards another, and it seems better founded, prospect of happiness presented itself. Charles Cayley proposed to her. But alas, this abstract and erudite man who shuffled about the world in a state of absent-minded dishabille, and translated the gospel into Iroquois, and asked smart ladies at a party “whether they were interested in the Gulf Stream”, and for a present gave Christina a sea mouse preserved in spirits, was, not unnaturally, a free thinker. Him, too, Christina put from her. Though “no woman ever loved a man more deeply”, she would not be the wife of a sceptic. She who loved the “obtuse and furry”— the wombats, toads, and mice of the earth — and called Charles Cayley “my blindest buzzard, my special mole”, admitted no moles, wombats, buzzards, or Cayleys to her heaven.
So one might go on looking and listening for ever. There is no limit to the strangeness, amusement, and oddity of the past sealed in a tank. But just as we are wondering which cranny of this extraordinary territory to explore next, the principal figure intervenes. It is as if a fish, whose unconscious gyrations we had been watching in and out of reeds, round and round rocks, suddenly dashed at the glass and broke it. A tea-party is the occasion. For some reason Christina went to a party given by Mrs. Virtue Tebbs. What happened there is unknown — perhaps something was said in a casual, frivolous, tea-party way about poetry. At any rate,
suddenly there uprose from a chair and paced forward into the centre of the room a little woman dressed in black, who announced solemnly, “I am Christina Rossetti!” and having so said, returned to her chair.
With those words the glass is broken. Yes [she seems to say], I am a poet. You who pretend to honour my centenary are no better than the idle people at Mrs. Tebb’s tea-party. Here you are rambling among unimportant trifles, rattling my writing-table drawers, making fun of the Mummies and Maria and my love affairs when all I care for you to know is here. Behold this green volume. It is a copy of my collected works. It costs four shillings and sixpence. Read that. And so she returns to her chair.
How absolute and unaccommodating these poets are! Poetry, they say, has nothing to do with life. Mummies and wombats, Hallam Street and omnibuses, James Collinson and Charles Cayley, sea mice and Mrs. Virtue Tebbs, Torrington Square and Endsleigh Gardens, even the vagaries of religious belief, are irrelevant, extraneous, superfluous, unreal. It is poetry that matters. The only question of any interest is whether that poetry is good or bad. But this question of poetry, one might point out if only to gain time, is one of the greatest difficulty. Very little of value has been said about poetry since the world began. The judgment of contemporaries is almost always wrong. For example, most of the poems which figure in Christina Rossetti’s complete works were rejected by editors. Her annual income from her poetry was for many years about ten pounds. On the other hand, the works of Jean Ingelow, as she noted sardonically, went into eight editions. There were, of course, among her contemporaries one or two poets and one or two critics whose judgment must be respectfully consulted. But what very different impressions they seem to gather from the same works — by what different standards they judge! For instance, when Swinburne read her poetry he exclaimed: “I have always thought that nothing more glorious in poetry has ever been written”, and went on to say of her New Year Hymn that it was
touched as with the fire and bathed as in the light of sunbeams, tuned as to chords and cadences of refluent sea-music beyond reach of harp and organ, large echoes of the serene and sonorous tides of heaven
Then Professor Saintsbury comes with his vast learning, and examines Goblin Market, and reports that
The metre of the principal poem [“Goblin Market”] may be best described as a dedoggerelised Skeltonic, with the gathered music of the various metrical progress since Spenser, utilised in the place of the wooden rattling of the followers of Chaucer. There may be discerned in it the same inclination towards line irregularity which has broken out, at different times, in the Pindaric of the late seventeenth and earlier eighteenth centuries, and in the rhymelessness of Sayers earlier and of Mr. Arnold later.
And then there is Sir Walter Raleigh:
I think she is the best poet alive. . . . The worst of it is you cannot lecture on really pure poetry any more than you can talk about the ingredients of pure water — it is adulterated, methylated, sanded poetry that makes the best lectures. The only thing that Christina makes me want to do, is cry, not lecture.
It would appear, then, that there are at least three schools of criticism: the refluent sea-music school; the line-irregularity school, and the school that bids one not criticise but cry. This is confusing; if we follow them all we shall only come to grief. Better perhaps read for oneself, expose the mind bare to the poem, and transcribe in all its haste and imperfection whatever may be the result of the impact. In this case it might run something as follows: O Christina Rossetti, I have humbly to confess that though I know many of your poems by heart, I have not read your works from cover to cover. I have not followed your course and traced your development. I doubt indeed that you developed very much. You were an instinctive poet. You saw the world from the same angle always. Years and the traffic of the mind with men and books did not affect you in the least. You carefully ignored any book that could shake your faith or any human being who could trouble your instincts. You were wise perhaps. Your instinct was so sure, so direct, so intense that it produced poems that sing like music in one’s ears — like a melody by Mozart or an air by Gluck. Yet for all its symmetry, yours was a complex song. When you struck your harp many strings sounded together. Like all instinctives you had a keen sense of the visual beauty of the world. Your poems are full of gold dust and “sweet geraniums’ varied brightness”; your eye noted incessantly how rushes are “velvet-headed”, and lizards have a “strange metallic mail”— your eye, indeed, observed with a sensual pre-Raphaelite intensity that must have surprised Christina the Anglo-Catholic. But to her you owed perhaps the fixity and sadness of your muse. The pressure of a tremendous faith circles and clamps together these little songs. Perhaps they owe to it their solidity. Certainly they owe to it their sadness — your God was a harsh God, your heavenly crown was set with thorns. No sooner have you feasted on beauty with your eyes than your mind tells you that beauty is vain and beauty passes. Death, oblivion, and rest lap round your songs with their dark wave. And then, incongruously, a sound of scurrying and laughter is heard. There is the patter of animals’ feet and the odd guttural notes of rooks and the snufflings of obtuse furry animals grunting and nosing. For you were not a pure saint by any means. You pulled legs; you tweaked noses. You were at war with all humbug and pretence. Modest as you were, still you were drastic, sure of your gift, convinced of your vision. A firm hand pruned your lines; a sharp ear tested their music. Nothing soft, otiose, irrelevant cumbered your pages. In a word, you were an artist. And thus was kept open, even when you wrote idly, tinkling bells for your own diversion, a pathway for the descent of that fiery visitant who came now and then and fused your lines into that indissoluble connection which no hand can put asunder:
But bring me poppies brimmed with sleepy death
And ivy choking what it garlandeth
And primroses that open to the moon.
Indeed so strange is the constitution of things, and so great the miracle of poetry, that some of the poems you wrote in your little back room will be found adhering in perfect symmetry when the Albert Memorial is dust and tinsel. Our remote posterity will be singing:
When I am dead, my dearest,
or:
My heart is like a singing bird,
when Torrington Square is a reef of coral perhaps and the fishes shoot in and out where your bedroom window used to be; or perhaps the forest will have reclaimed those pavements and the wombat and the ratel will be shuffling on soft, uncertain feet among the green undergrowth that will then tangle the area railings. In view of all this, and to return to your biography, had I been present when Mrs. Virtue Tebbs gave her party, and had a short elderly woman in black risen to her feet and advanced to the middle of the room, I should certainly have committed some indiscretion — have broken a paper-knife or smashed a tea-cup in the awkward ardour of my admiration when she said, “I am Christina Rossetti”.
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Virginia Woolf: The Common Reader, Second Series
kempis poetry magazine
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Joris-Karl Huysmans
(1849-1907)
Le Drageoir aux épices (1874)
VII. Lächeté
La neige tombe à gros flocons, le vent souffle, le froid sévit. Je rentre chez moi en toute hâte, je prépare mon feu, ma lampe. J’attends ma maîtresse. Nous dïnerons ensemble chez moi; j’ai commandé le dïner, acheté une bouteille de vieux pomard, une belle tarte aux confitures (elle est si gourmande!). Il est six heures, j’attends. La neige tombe à gros flocons, le vent souffle, le froid sévit; j’attise le feu, je ferme les rideaux, je prends un livre, mon vieux Villon. Quelles ineffables délices! dïner chez soi, à deux, au coin du feu. Six heures et demie sonnent à la pendule: j’écoute si son pas n’effleure pas l’escalier. Rien —aucun bruit. J’allume ma pipe, je m’enfonce dans mon fauteuil, je pense à elle. —Sept heures moins cinq minutes. Ah! enfin, c’est elle. —Je jette ma pipe, je cours à la porte; le pas continue à monter. Je me rassieds, le coeur serré, je compte les minutes, je vais à la fenêtre; toujours la neige tombe à gros flocons, toujours le vent souffle, toujours le froid sévit. J’essaie de lire, je ne sais ce que je lis, je ne pense qu’à elle, je l’excuse: elle aura été retenue à son magasin, elle sera restée chez sa mère. Il fait si froid! peut-être attend-elle une voiture; pauvre mignonne, comme je vais embrasser son petit nez froid, m’asseoir à croppetons à ses petits pieds! Sept heures et demie sonnent: je ne tiens plus en place, j’ai comme un pressentiment qu’elle ne viendra pas. Allons! tâchons de manger. J’essaie d’avaler quelques bouchées, ma gorge se resserre. Ah! je comprends maintenant! Mille petits riens se dressent devant moi; le doute, l’implacable doute me torture. Il fait froid, eh! qu’importent le froid, le vent, la neige, quand on aime? Oui, mais elle ne m’aime pas.
Oh! mais je serai ferme, je la tancerai vertement; il faut en finir d’ailleurs! depuis trop longtemps elle se rit de moi; que diantre, je n’ai plus dix-huit ans! ce n’est pas ma première maïtresse; après elle, une autre! Elle se fâchera? le beau malheur! les femmes ne sont pas denrée rare, à Paris! Oui, c’est facile à dire, mais une autre ne sera pas ma petite Sylvie, une autre ne sera pas ce petit monstre, dont je suis si follement assoti!
Je marche à grands pas, furieusement, et, tandis que j’enrage, la pendule tintinnabule joyeusement et semble rire de mes angoisses. Il est dix heures. Couchons-nous. Je m’étends dans mon lit, j’hésite à éteindre ma lampe; bah, tant pis! j’éteins. De furibondes colères m’étreignent à la gorge, j’étouffe. —Ah! oui, c’est bien fini entre nous! c’est bien fini! —Ah! mon Dieu, on monte: c’est elle, c’est son pas; je me précipite en bas du lit, j’allume, j’ouvre.
—C’est toi! d’où viens-tu? pourquoi arrives-tu si tard?
—Ma mère m’a retenue.
—Ta mère!… et tu m’as dit, il y a trois jours, que tu n’allais plus chez elle. Tiens, vois-tu, je suis très mécontent; si tu ne veux pas venir plus exactement, eh bien…
—Eh bien, quoi?
—Eh bien, nous nous fâcherons.
—Soit, fâchons-nous tout de suite; aussi bien, je suis lasse d’être toujours grondée. Si tu n’es pas content, je m’en vais…
Triple lâche, triple imbécile, je l’ai retenue!
kempis poetry magazine
More in: -Le Drageoir aux épices, Huysmans, J.-K.
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Die Sorge des Hausvaters
Franz Kafka (1883-1924)
Die einen sagen, das Wort Odradek stamme aus dem Slawischen und sie suchen auf Grund dessen die Bildung des Wortes nachzuweisen. Andere wieder meinen, es stamme aus dem Deutschen, vom Slawischen sei es nur beeinflußt. Die Unsicherheit beider Deutungen aber läßt wohl mit Recht darauf schließen, daß keine zutrifft, zumal man auch mit keiner von ihnen einen Sinn des Wortes finden kann.
Natürlich würde sich niemand mit solchen Studien beschäftigen, wenn es nicht wirklich ein Wesen gäbe, das Odradek heißt. Es sieht zunächst aus wie eine flache sternartige Zwirnspule, und tatsächlich scheint es auch mit Zwirn bezogen; allerdings dürften es nur abgerissene, alte, aneinander geknotete, aber auch ineinander verfitzte Zwirnstücke von verschiedenster Art und Farbe sein. Es ist aber nicht nur eine Spule, sondern aus der Mitte des Sternes kommt ein kleines Querstäbchen hervor und an dieses Stäbchen fügt sich dann im rechten Winkel noch eines. Mit Hilfe dieses letzteren Stäbchens auf der einen Seite, und einer der Ausstrahlungen des Sternes auf der anderen Seite, kann das Ganze wie auf zwei Beinen aufrecht stehen.
Man wäre versucht zu glauben, dieses Gebilde hätte früher irgendeine zweckmäßige Form gehabt und jetzt sei es nur zerbrochen. Dies scheint aber nicht der Fall zu sein; wenigstens findet sich kein Anzeichen dafür; nirgends sind Ansätze oder Bruchstellen zu sehen, die auf etwas Derartiges hinweisen würden; das Ganze erscheint zwar sinnlos, aber in seiner Art abgeschlossen. Näheres läßt sich übrigens nicht darüber sagen, da Odradek außerordentlich beweglich und nicht zu fangen ist.
Er hält sich abwechselnd auf dem Dachboden, im Treppenhaus, auf den Gängen, im Flur auf. Manchmal ist er monatelang nicht zu sehen; da ist er wohl in andere Häuser übersiedelt; doch kehrt er dann unweigerlich wieder in unser Haus zurück. Manchmal, wenn man aus der Tür tritt und er lehnt gerade unten am Treppengeländer, hat man Lust, ihn anzusprechen.
Natürlich stellt man an ihn keine schwierigen Fragen, sondern behandelt ihn – schon seine Winzigkeit verführt dazu – wie ein Kind. »Wie heißt du denn?« fragt man ihn. »Odradek,« sagt er. »Und wo wohnst du?«
»Unbestimmter Wohnsitz,« sagt er und lacht; es ist aber nur ein Lachen, wie man es ohne Lungen hervorbringen kann. Es klingt etwa so, wie das Rascheln in gefallenen Blättern. Damit ist die Unterhaltung meist zu Ende. Übrigens sind selbst diese Antworten nicht immer zu erhalten; oft ist er lange stumm, wie das Holz, das er zu sein scheint.
Vergeblich frage ich mich, was mit ihm geschehen wird. Kann er denn sterben? Alles, was stirbt, hat vorher eine Art Ziel, eine Art Tätigkeit gehabt und daran hat es sich zerrieben; das trifft bei Odradek nicht zu. Sollte er also einstmals etwa noch vor den Füßen meiner Kinder und Kindeskinder mit nachschleifendem Zwirnsfaden die Treppe hinunterkollern? Er schadet ja offenbar niemandem; aber die Vorstellung, daß er mich auch noch überleben sollte, ist mir eine fast schmerzliche.
Franz Kafka : Ein Landarzt. Kleine Erzählungen (1919)
fleursdumal.nl magazine
More in: Archive K-L, Franz Kafka, Kafka, Franz, Kafka, Franz
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